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+The Project Gutenberg EBook of Whittier-land, by Samuel T.  Pickard
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Whittier-land
+       A Handbook of North Essex
+
+Author: Samuel T.  Pickard
+
+Release Date: August 22, 2009 [EBook #29754]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK WHITTIER-LAND ***
+
+
+
+
+Produced by K. Nordquist, Diane Monico, and the Online
+Distributed Proofreading Team at http://www.pgdp.net (This
+file was produced from images generously made available
+by The Internet Archive/American Libraries.)
+
+
+
+
+
+
+
+
+
+WHITTIER-LAND
+
+_SAMUEL T. PICKARD_
+
+[Illustration]
+
+
+
+
+By Samuel T. Pickard
+
+WHITTIER-LAND. Illustrated. 12mo, $1.00 _net_. Postage 9 cents.
+
+LIFE AND LETTERS OF JOHN GREENLEAF WHITTIER. With Portraits and other
+Illustrations. 2 vols. crown 8vo, gilt top, $4.00.
+
+_One-Volume Edition_. Illustrated. Crown 8vo, $2.50.
+
+HOUGHTON MIFFLIN COMPANY
+BOSTON AND NEW YORK
+
+
+
+
+WHITTIER-LAND
+
+
+[Illustration: JOHN GREENLEAF WHITTIER
+
+From an ambrotype taken about 1857]
+
+
+
+
+WHITTIER-LAND
+
+A Handbook of North Essex
+
+CONTAINING MANY ANECDOTES OF AND POEMS
+BY JOHN GREENLEAF WHITTIER
+NEVER BEFORE COLLECTED
+
+BY
+
+SAMUEL T. PICKARD
+
+AUTHOR OF "LIFE AND LETTERS OF JOHN GREENLEAF WHITTIER"
+
+_ILLUSTRATED WITH MAP AND ENGRAVINGS_
+
+[Illustration: The Riverside Press]
+
+BOSTON AND NEW YORK
+HOUGHTON MIFFLIN COMPANY
+The Riverside Press Cambridge
+
+
+
+
+COPYRIGHT 1904 BY SAMUEL T. PICKARD
+
+ALL RIGHTS RESERVED
+
+_Published April 1904_
+
+EIGHTH IMPRESSION
+
+
+
+
+PREFACE
+
+
+This volume is designed to meet a call from tourists who are visiting
+the Whittier shrines at Haverhill and Amesbury in numbers that are
+increasing year by year. Besides describing the ancestral homestead and
+its surroundings, and the home at Amesbury, an attempt is made to
+answer such questions as naturally arise in regard to the localities
+mentioned by Whittier in his ballads of the region. Many anecdotes of
+the poet and several poems by him are now first published. It is with
+some hesitancy that I have ventured to add a chapter upon a phase of
+his character that has never been adequately presented: I refer to his
+keen sense of humor. It will be understood that none of the impromptu
+verses I have given to illustrate his playful moods were intended by
+him to be seen outside a small circle of friends and neighbors. This
+playfulness, however, was so much a part of his character from boyhood
+to old age that I think it deserves some record such as is here given.
+
+For those who are interested to inquire to whom refer passages in such
+poems as "Memories," "My Playmate," and "A Sea Dream," I now feel at
+liberty to give such information as could not properly be given at the
+time when I undertook the biography of the poet.
+
+If any profit shall be derived from the sale of this book, it will be
+devoted to the preservation and care of the homes here described, which
+will ever be open to such visitors as love the memory of Whittier.
+
+                        S. T. P.
+
+WHITTIER HOME, AMESBURY, MASS.,
+    March, 1904.
+
+
+
+
+CONTENTS
+
+
+                                        PAGE
+
+I.   Haverhill                            1
+
+II.  Amesbury                            53
+
+III. Whittier's Sense of Humor          105
+
+IV.  Whittier's Uncollected Poems       127
+
+     Footnotes                          154
+
+     Index                              155
+
+
+
+
+LIST OF ILLUSTRATIONS
+
+
+JOHN GREENLEAF WHITTIER                                 _Frontispiece_
+From an Ambrotype taken about 1857.
+
+MAP OF WHITTIER-LAND                                               xii
+
+WHITTIER'S BIRTHPLACE                                                2
+From a photograph by Alfred A. Ordway.
+
+RIVER PATH, NEAR HAVERHILL                                           5
+From a photograph by Ordway.
+
+HAVERHILL ACADEMY                                                    6
+From a photograph by G. W. W. Bartlett.
+
+MAIN STREET, HAVERHILL                                               8
+From a photograph by Ordway.
+
+BIRTHPLACE IN WINTER                                                 9
+From a photograph by Ordway.
+
+KENOZA LAKE                                                         10
+From a photograph by Ordway.
+
+FERNSIDE BROOK, THE STEPPING-STONES                                 11
+From a photograph by Ordway.
+
+THE BIRTHPLACE, FROM THE ROAD                                       13
+From a photograph by Ordway.
+
+"THE HAUNTED BRIDGE OF COUNTRY BROOK"                               15
+From a photograph by W. L. Bickum.
+
+GARDEN AT BIRTHPLACE                                                18
+From a photograph by W. L. Bickum.
+
+SNOW-BOUND KITCHEN, EASTERN END                                     21
+From a photograph by Ordway.
+
+SNOW-BOUND KITCHEN, WESTERN END                                     23
+From a photograph by Ordway.
+
+THE WHITTIER ELM                                                    29
+
+JOSHUA COFFIN, WHITTIER'S FIRST SCHOOLMASTER                        31
+
+SCENE OF "IN SCHOOL DAYS"                                           33
+From a pencil sketch by W. L. Bickum.
+
+HARRIET LIVERMORE, "HALF-WELCOME GUEST"                             41
+
+SCENE ON COUNTRY BROOK                                              43
+From a photograph by Ordway.
+
+THE SYCAMORES                                                       45
+From a photograph by Ordway.
+
+OLD GARRISON HOUSE (PEASLEE HOUSE)                                  47
+
+ROCKS VILLAGE AND BRIDGE                                            48
+From a photograph by Ordway.
+
+RIVER VALLEY, NEAR GRAVE OF COUNTESS                                49
+From a photograph by Ordway.
+
+DR. ELIAS WELD, THE "WISE OLD PHYSICIAN" OF SNOW-BOUND,
+AT THE AGE OF NINETY                                                50
+
+CURSON'S MILL, ARTICHOKE RIVER                                      57
+From a photograph by Ordway.
+
+DEER ISLAND AND CHAIN BRIDGE, HOME OF MRS. SPOFFORD                 59
+
+THE WHITTIER HOME, AMESBURY                                         61
+From a photograph by Mrs. P. A. Perry.
+
+JOSEPH STURGE, WHITTIER'S ENGLISH BENEFACTOR                        63
+
+"GARDEN ROOM" AMESBURY HOME                                         65
+From a photograph by C. W. Briggs.
+
+MRS. THOMAS, TO WHOM "MEMORIES" WAS ADDRESSED                       67
+
+EVELINA BRAY, AT THE AGE OF SEVENTEEN                               68
+From a miniature by J. S. Porter.
+
+WHITTIER, AT THE AGE OF TWENTY-TWO. His earliest portrait           69
+From a miniature by J. S. Porter.
+
+EVELINA BRAY DOWNEY, AT THE AGE OF EIGHTY                           71
+
+ELIZABETH WHITTIER PICKARD                                          75
+From a portrait by Kittell.
+
+SCENE IN GARDEN, AT WHITTIER'S FUNERAL                              76
+
+THE FERRY, SALISBURY POINT, MOUTH OF POWOW                          77
+From a photograph by Miss Woodman.
+
+POWOW RIVER AND PO HILL                                             79
+From a photograph by Miss Woodman.
+
+FRIENDS' MEETING-HOUSE AT AMESBURY                                  80
+From a photograph by Mrs. P. A. Perry.
+
+INTERIOR OF FRIENDS' MEETING-HOUSE                                  81
+From a photograph by G. W. W. Bartlett.
+
+CAPTAIN'S WELL                                                      83
+From a photograph by G. W. W. Bartlett.
+
+WHITTIER LOT, UNION CEMETERY, AMESBURY                              85
+From a photograph by W. R. Merryman.
+
+THE FOUNTAIN ON MUNDY HILL                                          87
+
+ROCKY HILL CHURCH                                                   88
+From a photograph by Miss Woodman.
+
+INTERIOR OF ROCKY HILL CHURCH                                       89
+From a photograph by Miss Woodman.
+
+SCENE OF "THE WRECK OF RIVERMOUTH"                                  90
+
+SCENE OF "THE TENT ON THE BEACH"                                    91
+
+HAMPTON RIVER MARSHES, AS SEEN FROM WHITTIER'S CHAMBER              92
+From a photograph by Greenleaf Whittier Pickard.
+
+HOUSE OF MISS GOVE, HAMPTON FALLS, WHITTIER ON THE BALCONY          93
+From a photograph taken a few days before the poet's death,
+by Greenleaf Whittier Pickard.
+
+CHAMBER IN WHICH WHITTIER DIED                                      94
+
+AMESBURY PUBLIC LIBRARY                                             95
+From a photograph by Gilman P. Smith.
+
+WHITTIER, AT THE AGE OF FORTY-NINE                                  97
+From a daguerreotype by Thomas E. Boutelle.
+
+THE WOOD GIANT, AT STURTEVANT'S, CENTRE HARBOR                      99
+
+THE CARTLAND HOUSE, NEWBURYPORT                                    101
+
+WHITEFIELD CHURCH AND BIRTHPLACE OF GARRISON                       103
+
+BEARCAMP HOUSE, WEST OSSIPEE, N. H.                                110
+
+GROUP OF FRIENDS AT STURTEVANT'S, CENTRE HARBOR, WITH WHITTIER     113
+
+JOSIAH BARTLETT STATUE, HUNTINGTON SQUARE, AMESBURY                123
+From a photograph by Charles W. Briggs.
+
+       *       *       *       *       *
+
+
+[Illustration: MAP OF WHITTIER-LAND
+
+KEY:--
+
+1. The Whittier Birthplace.
+2. Joshua Coffin's School, in house now occupied by Thomas Guild.
+      Scene of poem "To My Old Schoolmaster."
+3. Site of District School. Scene of "In School Days."
+4. Job's Hill.
+5. East Haverhill Church.
+6. Cemetery referred to in "The Old Burying Ground."
+7. The Sycamores.
+8. Ramoth Hill.
+9. Hunting Hill.
+10. Grave of the Countess.
+11. Country Bridge.
+12. Site of Thomas Whittier's Log House.
+13. Birchy Meadow, where Whittier taught school.
+14. Home of Sarah Greenleaf.
+15. Home of Dr. Elias Weld and of the Countess, Rocks Village.
+16. "Old Garrison," the Peaslee House.
+17. Rocks Bridge.
+18. Curson's Mill, Artichoke River.
+19. Pleasant Valley.
+20. The Laurels.
+21. Site of "Goody" Martin's House.
+22. Whittier Burial Lot, Union Cemetery.
+23. Macy House.
+24. The Captain's Well.
+25. Friends' Meeting-House, Amesbury.
+26. Whittier Home, Amesbury.
+27. Hawkswood.
+28. Deer Island, Chain Bridge, home of Mrs. Spofford.
+29. Rocky Hill Church.
+30. The Fountain, Mundy Hill.
+31. House at Hampton Falls, where Whittier died.
+32. Scene of "The Wreck of Rivermouth."
+33. Boar's Head.]
+
+
+
+
+HAVERHILL
+
+
+[Illustration: WHITTIER'S BIRTHPLACE
+
+Copyright, 1891, by A. A. Ordway]
+
+
+
+
+WHITTIER-LAND
+
+I
+
+HAVERHILL
+
+
+The whole valley of the Merrimac, from its source among the New
+Hampshire hills to where it meets the ocean at Newburyport, has been
+celebrated in Whittier's verse, and might well be called
+"Whittier-Land." But the object of these pages is to describe only that
+part of the valley included in Essex County, the northeastern section
+of Massachusetts. The border line separating New Hampshire from the Bay
+State is three miles north of the river, and follows all its turnings
+in this part of its course. For this reason each town on the north of
+the Merrimac is but three miles in width. It was on this three-mile
+strip that Whittier made his home for his whole life. His birthplace in
+Haverhill was his home for the first twenty-nine years of his life. He
+lived in Amesbury the remaining fifty-six years. The birthplace is in
+the East Parish of Haverhill, three miles from the City Hall, and three
+miles from what was formerly the Amesbury line. It is nearly midway
+between the New Hampshire line and the Merrimac River. In 1876 the
+township of Merrimac was formed out of the western part of Amesbury,
+and this new town is interposed between the two homes, which are nine
+miles apart.
+
+Haverhill, Merrimac, Amesbury, and Salisbury are each on the
+three-mile-wide ribbon of land stretching to the sea, on the left bank
+of the river. On the opposite bank are Bradford, Groveland, Newbury,
+and Newburyport. The whole region on both sides of the river abounds
+in beautifully rounded hills formed of glacial deposits of clay and
+gravel, and they are fertile to their tops. At many points they press
+close to the river, which has worn its channel down to the sea-level,
+and feels the influence of the tides beyond Haverhill. This gives
+picturesque effects at many points. The highest of the hills have
+summits about three hundred and sixty feet above the surface of the
+river, and there are many little lakes and ponds nestling in the
+hollows in every direction. In the early days these hills were crowned
+with lordly growths of oak and pine, and some of them still retain
+these adornments. But most of the summits are now open pastures or
+cultivated fields. The roofs and spires of prosperous cities and
+villages are seen here and there among their shade trees, and give a
+human interest to the lovely landscape. It is not surprising that
+Whittier found inspiration for the beautiful descriptive passages which
+occur in every poem which has this river for theme or illustration:--
+
+    "Stream of my fathers! sweetly still
+    The sunset rays thy valley fill;
+    Poured slantwise down the long defile,
+    Wave, wood, and spire beneath them smile."
+
+[Illustration: RIVER PATH]
+
+Here is a description of the scenery of the Merrimac valley by Mr.
+Whittier himself, in a review of Rev. P. S. Boyd's "Up and Down the
+Merrimac," written for a journal with which I was connected, and never
+reprinted until now:--
+
+     "The scenery of the lower valley of the Merrimac is not bold
+     or remarkably picturesque, but there is a great charm in the
+     panorama of its soft green intervales: its white steeples
+     rising over thick clusters of elms and maples, its neat
+     villages on the slopes of gracefully rounded hills, dark
+     belts of woodland, and blossoming or fruited orchards, which
+     would almost justify the words of one who formerly
+     sojourned on its banks, that the Merrimac is the fairest
+     river this side of Paradise. Thoreau has immortalized it in
+     his 'Week on the Concord and Merrimack Rivers.' The late
+     Caleb Cushing, who was not by nature inclined to sentiment
+     and enthusiasm, used to grow eloquent and poetical when he
+     spoke of his native river. Brissot, the leader of the
+     Girondists in the French Revolution, and Louis Philippe, who
+     were familiar with its scenery, remembered it with pleasure.
+     Anne Bradstreet, the wife of Governor Bradstreet, one of the
+     earliest writers of verse in New England, sang of it at her
+     home on its banks at Andover; and the lovely mistress of
+     Deer Island, who sees on one hand the rising moon lean above
+     the low sea horizon of the east, and on the other the
+     sunset reddening the track of the winding river, has made it
+     the theme and scene of her prose and verse."
+
+[Illustration: HAVERHILL ACADEMY]
+
+The visitor who approaches Whittier-Land by the way of Haverhill will
+find in that city many places of interest in connection with the poet's
+early life, and referred to in his poems. The Academy for which he
+wrote the ode sung at its dedication in 1827, when he was a lad of
+nineteen, and before he had other than district school training, is now
+the manual training school of the city, and may be found, little
+changed except by accretion, on Winter Street, near the city hall. As
+this ode does not appear in any of his collected works, and is
+certainly creditable as a juvenile production, it is given here. It was
+sung to the air of "Pillar of Glory:"--
+
+    Hail, Star of Science! Come forth in thy splendor,
+      Illumine these walls--let them evermore be
+    A shrine where thy votaries offerings may tender,
+      Hallowed by genius, and sacred to thee.
+        Warmed by thy genial glow,
+        Here let thy laurels grow
+    Greenly for those who rejoice at thy name.
+      Here let thy spirit rest,
+      Thrilling the ardent breast,
+    Rousing the soul with thy promise of fame.
+
+    Companion of Freedom! The light of her story,
+      Wherever her voice at thine altar is known
+    There shall no cloud of oppression come o'er thee,
+      No envious tyrant thy splendor disown.
+        Sons of the proud and free
+        Joyous shall cherish thee,
+    Long as their banners in triumph shall wave;
+        And from its peerless height
+        Ne'er shall thy orb of light
+    Sink, but to set upon Liberty's grave.
+
+    Smile then upon us; on hearts that have never
+      Bowed down 'neath oppression's unhallowed control.
+    Spirit of Science! O, crown our endeavor;
+      Here shed thy beams on the night of the soul;
+        Then shall thy sons entwine,
+        Here for thy sacred shrine,
+    Wreaths that shall flourish through ages to come,
+        Bright in thy temple seen,
+        Robed in immortal green,
+    Fadeless memorials of genius shall bloom.
+
+Haverhill, although but three miles wide, is ten miles long, and
+includes many a fertile farm out of sight of city spires, and out of
+sound of city streets. As Whittier says in the poem "Haverhill:"--
+
+    "And far and wide it stretches still,
+    Along its southward sloping hill,
+    And overlooks on either hand
+    A rich and many-watered land.
+
+          .     .     .     .     .
+
+    And Nature holds with narrowing space,
+    From mart and crowd, her old-time grace,
+    And guards with fondly jealous arms
+    The wild growths of outlying farms.
+
+    Her sunsets on Kenoza fall,
+    Her autumn leaves by Saltonstall
+    No lavished gold can richer make
+    Her opulence of hill and lake."
+
+[Illustration: MAIN STREET, HAVERHILL
+
+City Hall at the right; Haverhill Bridge in middle distance]
+
+This "opulence of hill and lake" is the especial charm of Haverhill.
+The two symmetrical hills, named Gold and Silver, near the river, one
+above and one below the city proper, are those referred to in "The
+Sycamores" as viewed by Washington with admiring comment, standing in
+his stirrups and
+
+      "Looking up and looking down
+    On the hills of Gold and Silver
+      Rimming round the little town."
+
+[Illustration: BIRTHPLACE IN WINTER
+
+From hemlocks above brook
+
+_Copyright, 1891, by A. A. Ordway._]
+
+Silver Hill is the one with the tower on it. As one takes at the
+railway station the electric car for the three-mile trip to the
+Whittier birthplace, two lakes are soon passed on the right. The larger
+one, overlooked by the stone castle on top of a great hill embowered in
+trees, is Kenoza--a name signifying pickerel. It was christened by
+Whittier with the poem which has permanently fixed its name. The whole
+lake and the beautiful wooded hills surrounding it, with the
+picturesque castle crowning one of them, are now included in a public
+park of which any city might be proud. Our car passes close at hand, on
+the left, another lake not visible because it is so much above us. This
+is a singular freak of nature--a deep lake fed by springs on top of a
+hill. The surface of this lake is far above the tops of most of the
+houses of Haverhill, and it is but a few rods from Kenoza, which lies
+almost a hundred feet below. Our road is at middle height between the
+two, and only a stone's throw from either.
+
+[Illustration: KENOZA]
+
+[Illustration: FERNSIDE BROOK, THE STEPPING-STONES]
+
+As we approach the birthplace, it is over the northern shoulder of
+Job's Hill, the summit of which is high above us at the right. This
+hill was named for an Indian chief of the olden time. We look down at
+the left into an idyllic valley, and through the trees that skirt a
+lovely brook catch sight of the ancient farmhouse on a gentle slope
+which seems designed by nature for its reception. To the west and south
+high hills crowd closely upon this valley, but to the east are green
+meadows through which winds, at last at leisure, the brook just
+released from its tumble among the rocks of old Job's left shoulder.
+The road by which we have come is comparatively new, and was not in
+existence when the Whittiers lived here. The old road crosses it close
+by the brook, which is here bridged. The house faces the brook, and not
+the road, presenting to the highway the little eastern porch that gives
+entrance to the kitchen,--the famous kitchen of "Snow-Bound."
+
+The barn is across the road directly opposite this porch. It is now
+much longer than it was in Whittier's youth, but two thirds of it
+towards the road is the old part to which the boys tunneled through the
+snowdrift--
+
+              ... "With merry din,
+    And roused the prisoned brutes within.
+    The old horse thrust his long head out,
+    And grave with wonder gazed about;
+    The cock his lusty greeting said,
+    And forth his speckled harem led
+    The oxen lashed their tails, and hooked,
+    And mild reproach of hunger looked;
+    The hornéd patriarch of the sheep,
+    Like Egypt's Amun roused from sleep,
+    Shook his sage head with gesture mute,
+    And emphasized with stamp of foot."
+
+This is not the original barn of the pioneers, but was built by
+Whittier's father and uncle Moses in 1821. The ancient barn was not
+torn down till some years later. It was in what is now the orchard back
+of the house. There used to be, close to the cattle-yard of the
+comparatively new barn, a shop containing a blacksmith's outfit. This
+was removed more than fifty years ago, being in a ruinous condition
+from extreme old age. It had not been so tenderly cared for as was its
+contemporary of the Stuart times across the road.
+
+[Illustration: THE BIRTHPLACE, FROM THE ROAD
+
+Showing eastern porch, gate, bridle-post, and large boulder used as
+horse-block]
+
+Thomas Whittier, the pioneer, did not happen upon this valley upon his
+first arrival from England, in 1638. Indeed, at that time the
+settlements had not reached into this then primeval wilderness. He
+settled first in that part of Salisbury which is now named Amesbury,
+and while a very young man represented that town in the General Court.
+The Whittier Hill which overlooks the poet's Amesbury home was named
+for the pioneer, and not for his great-great-grandson. It is to this
+day called by Amesbury people Whitcher Hill--as that appears to have
+been the pronunciation of the name in the olden time. For some reason
+he removed across the river to Newbury. As a town official of
+Salisbury, he had occasion to lay out a highway towards Haverhill--a
+road still in use. He came upon a location that pleased his fancy, and
+in 1647, at the age of twenty-seven, he returned to the northern side
+of the river and built a log house on the left bank of Country Brook,
+about a mile from the location he selected in 1688 for his permanent
+residence. He lived forty-one years in this log house, and here raised
+a family of ten children, five of them stalwart boys, each over six
+feet in height. He was sixty-eight years old when he undertook to build
+the house now the shrine visited yearly by thousands. In raising its
+massive oaken frame he needed little help outside his own family. As to
+the location of the log house, the writer of these pages visited the
+spot with Mr. Whittier in search of it in 1882. He said that when a boy
+he used to see traces of its foundation, and hoped to find them again;
+but more than half a century had passed in the mean time, and our
+search was unsuccessful. It was on the ridge to the left of the road,
+quite near the old Country Bridge.
+
+[Illustration: THE HAUNTED BRIDGE OF COUNTRY BROOK]
+
+Country Bridge had the reputation of being haunted, when Whittier was a
+boy, and several of his early uncollected poems refer to this fact. No
+one who could avoid it ventured over it after dark. He told me that
+once he determined to swallow his fears and brave the danger. He
+approached whistling to keep his courage up, but a panic seized him,
+and he turned and ran home without daring to look behind. It was in
+this vicinity that Thomas Whittier built his first house in Haverhill.
+Further down the stream was Millvale, where were three mills, one a
+gristmill. This mill and the evil reputation of the bridge are both
+referred to in these lines from "The Home-Coming of the Bride," a
+fragment first printed in "Life and Letters:"--
+
+    "They passed the dam and the gray gristmill,
+      Whose walls with the jar of grinding shook,
+    And crossed, for the moment awed and still,
+      The haunted bridge of the Country Brook."
+
+It was the custom of the pioneers, when they had the choice, to select
+the sites of their homes near the small water powers of the brooks; the
+large rivers they had not then the power to harness. There were good
+mill sites on Country Brook below the log house, but probably some
+other settler had secured them, and Thomas Whittier found in the
+smaller stream on his own estate a fairly good water power. Fernside
+Brook is a tributary of Country Brook. Probably this decided the
+selection of the site for a house which was to be a home for generation
+after generation of his descendants. The dam recently restored is at
+the same spot where stood the Whittier mill, and in making repairs some
+of the timbers of the ancient mill were found. Parts of the original
+walls of the dam are now to be seen on each side of the brook, but the
+mill had disappeared long before Whittier was born. Further up the
+brook were two other dams, used as reservoirs. The lower dam when
+perfect was high enough to enable the family to bring water to house
+and barn in pipes.
+
+When entering the grounds, notice the "bridle-post" at the left of the
+gate, and a massive boulder in which rude steps are cut for mounting a
+horse led up to its side:--
+
+    "The bridle-post an old man sat
+    With loose-flung coat and high cocked hat."
+
+Like all of Whittier's descriptions, this is an exact picture of what
+he had in mind; for this stone, after a great snowstorm, would assume
+just this appearance. As to the phrase, "the well-curb had a Chinese
+roof," I once asked him how this well could have had a roof, as the
+"long sweep high aloof" would have interfered with it. He stood by the
+side of the well, and explained that there was no roof, but that there
+was a shelf on one side of the curb on which to rest the bucket. The
+snow piled up on this like a Chinese roof. The isolation of the
+homestead referred to in the phrase, "no social smoke curled over
+woods of snow-hung oak," has not been broken in either of the centuries
+this house has stood. No other house was ever to be seen from it in any
+direction. And yet neighbors are within a half-mile, only the hills and
+forests hide their habitations from view. When the wind is right, the
+bells of Haverhill may be faintly heard, and the roar of ocean after a
+storm sometimes penetrates as a hoarse murmur in this valley.
+
+In the old days, before these hills were robbed of the oaken growths
+that crowned their summits, their apparent height was much increased,
+and the isolation rendered even more complete than now. Sunset came
+much earlier than it did outside this valley. The eastern hill, beyond
+the meadow, is more distant and not so high, and so the sunrises are
+comparatively early. Visitors interested in geology will find this hill
+an unusually good specimen of an eschar, a long ridge of glacial gravel
+set down in a meadow through which Fernside Brook curves on its way to
+its outlet in Country Brook. Job's Hill at the south rises so steeply
+from the right bank of Fernside Brook, at the foot of the terraced
+slope in front of the house, that it is difficult for many rods to get
+a foothold. The path by which the hill was scaled and the
+stepping-stones by which the brook was crossed are accurately sketched
+in the poem "Telling the Bees,"--a poem, by the way, which originally
+had "Fernside" for its title:--
+
+    "Here is the place; right over the hill
+      Runs the path I took;
+    You can see the gap in the old wall still,
+      And the stepping-stones in the shallow brook."
+
+Visitors should read the stanzas immediately following this, and note
+the exactness of the poet's description of the homestead he had in
+mind. The poem was written more than twenty years after he left
+Haverhill, and it was many years after that when Mr. Alfred Ordway, in
+taking photographs of the place, noticed that it had already been
+pictured in verse; when he spoke of it to Mr. Whittier, the poet was
+both surprised and pleased at this, which, he said, was the first
+recognition of his birthplace. The public is indebted to Mr. Ordway for
+many other discoveries of the same kind, illustrating Whittier's minute
+fidelity to nature in his descriptions of scenery.
+
+[Illustration: GARDEN AT BIRTHPLACE]
+
+Let us enter the house by the eastern porch, noting the circular
+door-stone, which was the millstone that ground the grain of the
+pioneers, more than a century before Whittier was born. It belonged in
+the mill on the brook to which reference has been made. The fire which
+destroyed the roof of the house in November, 1902, did not injure this
+porch, and there were other parts of the house which were scarcely
+scorched. These are the original walls, and the handiwork of the
+pioneers is exactly copied in whatever had to be restored. This was
+made possible by photographs that had been kept, showing the width and
+shape of every board and moulding, inside and outside the house. Here
+again it is Mr. Ordway, president of the board of trustees having the
+birthplace in charge, who is to be especially thanked. It is proper
+here, as I have spoken of the fire, to mention the heroic work of the
+custodian, Mrs. Ela, and others, who saved every article of the
+precious souvenirs endangered by the fire, so that nothing was lost.
+
+The kitchen, which occupies nearly the whole northern side of the
+house, is twenty-six feet long and sixteen wide. The visitor's
+attention is usually first drawn to the great fireplace in the centre
+of its southern side. The central chimney was built by the pioneer more
+than two centuries ago, and it has five fireplaces opening into it. The
+bricks of the kitchen hearth are much worn, as might be expected from
+having served so many generations as the centre of their home life. It
+was around this identical hearth that the family was grouped, as
+sketched in the great poem which has consecrated this room, and made it
+a shrine toward which the pilgrims of many future generations will find
+their way. Here was piled--
+
+    "The oaken log, green, huge and thick,
+    And on its top the stout back-stick;
+    The knotty forestick laid apart,
+    And filled between with curious art
+    The ragged brush; then, hovering near,
+    We watched the first red blaze appear,
+    Heard the sharp crackle, caught the gleam
+    On whitewashed wall and sagging beam,
+    Until the old, rude-furnished room
+    Burst, flower-like, into rosy bloom."
+
+Here on these very bricks simmered the mug of cider and the "apples
+sputtered in a row," while through these northern windows the homely
+scene was repeated on the sparkling drifts in mimic flame. The table
+now standing between these windows is the same that then stood there,
+and many of the dishes on the shelves near by are the family heirlooms
+occupying their old places. Two of these pieces of china were brought
+here by Sarah Greenleaf, Whittier's grandmother. The bull's-eye watch
+over the mantel is a fine specimen of the olden time, and hangs on the
+identical nail from which uncle Moses nightly suspended his plump
+timepiece.
+
+But perhaps the article which is most worthy of attention in this room
+is the desk at the eastern corner. This was the desk of Joseph
+Whittier, great-grandfather of the poet, and son of the pioneer. On the
+backs and bottoms of the drawers of this desk are farm memoranda made
+with chalk much more than a century ago. One item dated in 1798 records
+that the poet's father made his last excursion to Canada in that year.
+It was about a century old when the boy Whittier scribbled his first
+rhymes upon it. By an interesting coincidence he also, in his
+eighty-fifth year, wrote his very last poem upon it. When the family
+removed to Amesbury, in 1836, this desk was taken with them, but soon
+after was replaced by a new one, and this went "out of commission." The
+new desk was the one on which "Snow-Bound" was written, and this may
+now be seen at Amesbury. When Mr. Whittier's niece was married, he gave
+her this old desk, which she took to Portland, where it was thoroughly
+repaired. When he visited Portland, he wrote many letters and some
+poems on it. In the summer of 1891, as her uncle proposed to make his
+home with his cousins, the Cartlands, in Newburyport, his niece had
+this ancient desk sent there. Mr. Whittier was greatly pleased, upon
+his arrival, to find in his room the heirloom which was hallowed by so
+many associations connected not only with his ancestry, but with his
+own early life. Nearly all of the literary work of his last year was
+done upon this desk. To his niece he wrote:--
+
+"I am writing at the old desk, which Gertrude has placed in my room,
+but it seems difficult to imagine myself the boy who used to sit by it
+and make rhymes. It is wonderfully rejuvenated, and is a handsome
+piece of furniture. It was the desk of my great-grandfather, and seemed
+to me a wretched old wreck when thee took it to Portland. I did not
+suppose it could be made either useful or ornamental. I wrote my first
+pamphlet on slavery, 'Justice and Expediency,' upon it, as well as a
+great many rhymes which might as well have never been written. I am
+glad that it has got a new lease of life."
+
+[Illustration: KITCHEN IN BIRTHPLACE
+
+Copyright, 1891, by A. A. Ordway]
+
+The little room at the western end of the kitchen was "mother's room,"
+its floor two steps higher than that of the larger room, for a singular
+reason. In digging the cellar the pioneer found here a large boulder it
+was inconvenient to remove, and wishing a milk room at this corner, he
+was obliged to make its floor two steps higher than the rest of the
+cellar. This inequality is reproduced in each story. In this little
+room the bed is furnished with the blankets and linen woven by
+Whittier's mother on the loom that used to stand in the open chamber.
+Her initials "A. H." on some of the pieces show that they date back to
+her life in Somersworth, N. H. On the wall of this room may be seen the
+baby-clothes of Whittier's father, made by the grandmother who brought
+the name of Greenleaf into the family. The bureau in this room is the
+one that stood there in the olden time. The little mirror that stands
+on it is the one by which Whittier shaved most of his life. He used it
+at Amesbury, and possibly his father used it before him at Haverhill.
+
+Mr. Whittier had a great fund of stories of the supernatural that were
+current in this neighborhood in his youth, and one that had this very
+kitchen for its scene, he told with much impressiveness. It was the
+story of his aunt Mercy--
+
+    "The sweetest woman ever Fate
+    Perverse denied a household mate."
+
+It was out of this window in the kitchen that she saw the horse and its
+rider coming down the road, and recognized the young man to whom she
+was betrothed. It was out of this window in the porch that she saw them
+again, as she went to the door to welcome her lover. It was this door
+she opened, to find no trace of horse or rider. It was to this little
+room at the other end of the kitchen that she went, bewildered and
+terrified, to waken her sister, who tried in vain to pacify her by
+saying she had been dreaming by the fire, when she should have been in
+bed. And it was in this room she received the letter many days later
+telling her of the death of her lover in a distant city at the hour of
+her vision.[1] Mr. Whittier told such stories with the air of more than
+half belief in their truth, especially in his later years, when he
+became interested in the researches of scientists in the realm of
+telepathy. He said his aunt was the most truthful of women, and she
+never doubted the reality of her vision.
+
+[Illustration: WESTERN END OF KITCHEN
+
+View of "mother's room;" the poet was born in a room at the left,
+beyond the fireplace
+
+Copyright 1891, by A. A. Ordway]
+
+The door at the southwestern corner of the kitchen opens into the room
+in which the poet was born. This was the parlor, but as the Friends
+were much given to hospitality, it was often needed as a bedroom, and
+there was in it a bedstead that could be lifted from the floor and
+supported by a hook in the ceiling when not in use. In the corners are
+cabinets containing articles of use and ornament that are genuine
+relics of the Whittier family. The inlaid mahogany card-table between
+the front windows was brought to this house just a century ago (1804)
+by Abigail Hussey, the bride of John Whittier, and placed where it now
+stands. Like the desk in the kitchen, it has always been in the
+possession of the family, and was restored to the birthplace by the
+niece to whom Whittier gave it. In this room are several books that
+belonged in the small library of Whittier's father, which are mentioned
+in "Snow-Bound," and described more fully in the rhymed catalogue, a
+part of which appears in "Life and Letters," p. 46. I here give the
+full list copied from Whittier's manuscript, for which I am indebted to
+Miss Sarah S. Thayer, daughter of Abijah W. Thayer, who edited the
+"Haverhill Gazette," and with whom Whittier boarded while in the
+Academy. Mr. Thayer had appended to the manuscript these words: "This
+was deposited in my hands about 1828, by John G. Whittier, who assured
+me that it was his first effort at versification. It was written in
+1823 or 1824, when Whittier was fifteen or sixteen years old."
+
+
+NARRATIVES
+
+    How Captain Riley and his crew
+    Were on Sahara's desert threw.
+    How Rollins to obtain the cash
+    Wrote a dull history of trash.
+    O'er Bruce's travels I have pored,
+    Who the sources of the Nile explored.
+    Malcolm of Salem's narrative beside,
+    Who lost his ship's crew, unless belied.
+    How David Foss, poor man, was thrown
+    Upon an island all alone.
+
+
+RELIGIOUS
+
+    The Bible towering o'er the rest,
+    Of all the other books the best.
+    Old Father Baxter's pious call
+    To the unconverted all.
+    William Penn's laborious writing,
+    And the books 'gainst Christians fighting.
+    Some books of sound theology,
+    Robert Barclay's "Apology."
+    Dyer's "Religion of the Shakers,"
+    Clarkson's also of the Quakers.
+    Many more books I have read through--
+    Bunyan's "Pilgrim's Progress" too.
+    A book concerning John's baptism,
+    Elias Smith's "Universalism."
+
+JOURNALS, LIVES, &c.
+
+    The Lives of Franklin and of Penn,
+    Of Fox and Scott, all worthy men.
+    The Lives of Pope, of Young and Prior,
+    Of Milton, Addison, and Dyer;
+    Of Doddridge, Fénelon and Gray,
+    Armstrong, Akenside, and Gay.
+    The Life of Burroughs, too, I've read,
+    As big a rogue as e'er was made;
+    And Tufts, who, I will be civil,
+    Was worse than an incarnate devil.
+              --Written by John G. Whittier.
+
+The books of this library now to be seen are the "Life of George Fox,"
+in two leather-bound volumes, printed in London, 1709, Sewel's "Painful
+History," printed in 1825, Ellwood's "Drab-Skirted Muse," Philadelphia
+edition of 1775, and Thomas Clarkson's "Portraiture of Quakerism," New
+York edition of 1806.
+
+The little red chest near the fireplace is an ancient relic of the
+family, formerly used for storing linen. The portrait of Whittier over
+the fireplace is enlarged from a miniature painted by J. S. Porter
+about 1830, and it is the earliest likeness of the poet ever taken. The
+original miniature may be seen at the Amesbury home. The large
+portrait on the opposite side of the room was painted by Joseph Lindon
+Smith, an artist of celebrity, who is a relative of Whittier's.
+Portraits of Whittier's brother, his sisters, his mother, and his old
+schoolmaster, Joshua Coffin, are shown in this room. The silhouette on
+the mantelpiece is of aunt Mercy, his mother's unmarried sister. A
+sampler worked by Lydia Aver, the girl commemorated in the poem "In
+School Days," is exhibited in this room. She was a member of the family
+who were the nearest neighbors of the Whittiers--a family still
+represented in their ancient homestead, where her grandniece now lives.
+She died at the age of fourteen.
+
+It was the privilege of the writer to accompany Mr. Whittier when he
+made his last visit to his birthplace, in late October, 1882. When in
+this birth-room, he expressed a wish to see again a fire upon its
+hearth, not for warmth, for it was a warm day, but for the sentiment of
+it. The elderly woman who had charge of the house said she would have a
+fire built, and in the mean time we went down to the brook, intending
+to cross by the stepping-stones he had so often used. But the brook was
+running full, the stepping-stones were slippery, and Mr. Whittier
+reluctantly gave up crossing. Then we visited the little burying-ground
+of the family, where lie the remains of his ancestors. When we returned
+to the parlor, we found the good woman had brought down a sheet-iron
+air-tight stove from the attic, set it in the fireplace, and there was
+a crackling fire in it! I suggested that we could easily remove the
+stove and have a blaze on the hearth, but Mr. Whittier at once
+negatived the proposition, saying we must not let the woman know we
+were disappointed. She had taken much pains to please us, and must not
+be made aware of her mistake. He was always ready to suffer
+inconvenience rather than wound the sensibilities of any one.
+
+From the back entry at the western end of the kitchen ascends the
+steep staircase down which Whittier, when an infant, was rolled by his
+sister Mary, two years older than he. She thought if he were well
+wrapped in a blanket he would not be harmed, and the experiment proved
+quite successful, thanks to her abundant care in bundling him in many
+folds. He happily escaped one other peril in his infancy. His parents
+took him with them on a winter drive to Kingston, N. H. To protect him
+from the cold, he was wrapped too closely in his blankets, and he came
+so near asphyxiation that for a time he was thought to be dead. He was
+taken into a farmhouse they were passing when the discovery was made,
+and after a long and anxious treatment they were delighted to find he
+was living.
+
+The rooms in the upper part of the house injured by the recent fire
+have been perfectly restored to their original condition. At Whittier's
+last visit here he went into every room, and told stories of the
+happenings of his youth in each. At the head of the back stairs is a
+little doorless press, which he pointed out as a favorite play-place of
+his and his brother's. Here they found room for their few toys, as
+perhaps three generations of Whittier children had done before them.
+And it is not unlikely that some of their toys had amused the youth of
+their grandfather. One of his earliest memories is connected with this
+little closet, for here he had his first severe twinge of conscience.
+He had told a lie--no doubt a white one, for it did not trouble him at
+first--and soon after was watching the rising of a thunder-cloud that
+was grumbling over the great trees on the western hill near at hand. A
+bolt descended among the oaks, and the deafening explosion was
+instantaneous. He saw in it an exhibition of divine wrath over his sin,
+and obeyed the primal instinct to hide himself. His mother, searching
+for him some time after the storm had passed, found her repentant
+little boy almost smothered under a quilt in this closet, and as he
+confessed his sin, he was tenderly shrived. Here in the open chamber
+the brothers often slept when visitors claimed the little western
+chamber they usually occupied. They would sometimes find, sifted
+through cracks in the old walls, a little snowdrift on their quilt. The
+small western room the boys called theirs was the scene of the story
+Trowbridge has so neatly versified. The elder proposed that as they
+could lift each other, by lifting in turn they could rise to the
+ceiling, and there was no knowing how much further if they were out of
+doors! The prudent lads, to make it easy in case of failure, stood upon
+the bed in this little room. Trowbridge says:--
+
+    "Kind Nature smiled on that wise child,
+      Nor could her love deny him
+    The large fulfilment of his plan;
+    Since he who lifts his brother man
+      In turn is lifted by him."
+
+Boys were boys in those days, and Whittier told us of trying to annoy
+his younger sister by pretending to hang her cat on this railing to the
+attic stairs. And girls were girls too; for he told of Elizabeth's
+frightening two hired men who were occupying the open chamber. They had
+been telling each other ghost stories after they went to bed; but both
+asserted that they could not be frightened by such things. From over
+the door of her room Elizabeth began throwing pins, one at a time, so
+that they would strike on the floor near the brave men. They were so
+frightened they would not stay there another night. In the open attic
+bunches of dried herbs hung from the rafters, and traces of corn
+selected for seed. On the floor the boys spread their store of nuts
+"from brown October's wood." Originally the northern side of the roof
+sloped down to the first story, as was the fashion in the days of the
+Stuarts. But some years before Whittier's birth this side of the roof
+was raised, giving much additional chamber room.
+
+Not far from the house, at the foot of the western hill, is the small
+lot inclosed by a stone wall, to which reference has been made, that
+from the earliest settlement was the burying-place of the family. Here
+lie the remains of Thomas Whittier and those of his descendants who
+were the ancestors of the poet. A plain granite shaft in the centre of
+the lot is inscribed with the names of Thomas Whittier and of Ruth
+Green, his wife; Joseph Whittier and Mary Peaslee, his wife; Joseph
+Whittier, 2d, and Sarah Greenleaf, his wife. No headstones mark the
+several graves. Others of the family were buried here, including Mary
+Whittier, an aunt of the poet. His father and uncle Moses, originally
+buried here, were removed to the Amesbury cemetery, when his mother
+died, in 1857.
+
+[Illustration: THE WHITTIER ELM]
+
+Across the road from the house of the nearest neighbors, the Ayers, in
+a field of the Whittier farm, is an old, immense, and symmetrical tree,
+labeled "The Whittier Elm," which the poet's schoolmate, Edmund Ayer,
+saved from the woodman's axe by paying an annual tribute, at a time
+when the farm had gone out of the possession of the Whittiers, and
+while the new proprietors were intent upon despoiling the place of its
+finest trees. This is the tree referred to in these lines, written in
+1862, in the album of Lydia Amanda Ayer (now Mrs. Evans), his
+schoolmate Lydia's niece:--
+
+    "A dweller where my infant eyes
+    Looked out on Nature's sweet surprise,
+    Whose home is in the ample shade
+    Of the old Elm Tree where I played,
+    Asks for her book a word of mine:--
+    I give it in a single line:
+    Be true to Nature and to Heaven's design!"
+
+Whittier took us that October day to neighbor Ayer's house, where the
+brother of little Lydia was still living, who also was a schoolmate of
+the poet, and they talked of the old times with the greatest relish.
+The Ayer house occupies the site of a garrison house, built of strong
+oaken timbers, and used as a house of refuge in the time of the Indian
+wars. The Whittiers, though close at hand, never availed themselves of
+its protection, even when Indian faces covered with war-paint peered
+through the kitchen windows upon the peaceful Quaker family. We were
+soon joined by another aged schoolmate, Aaron Chase, and with him we
+went to Corliss Hill, where Whittier showed us the two houses in which
+he first went to school. They are both now standing, and are
+dwelling-houses in each of which a room was given up for the district
+school--one before the house described in "In School Days" was built,
+and the other while it was being repaired. He had not yet arrived at
+school age when his sister Mary took him to his first school, kept by
+his life-long friend, Joshua Coffin, to whom he addressed the poem, "To
+My Old Schoolmaster." As I happened to be a nephew of Coffin, he told
+me stories of his first school. It was kept in an unfinished ell of a
+farmhouse; but the room had been transformed into a neatly furnished
+kitchen when we visited it. In the poem referred to he alludes to the
+quarrels of the good man and his tipsy wife heard through "the cracked
+and crazy wall." He told this story of the tipsy wife: She sent her son
+for brush to heat her oven. He brought such a nice load that she
+thought it too bad to waste it in the oven. So she sent her son with it
+to the grocery, and he brought back the liquor he received in payment.
+But this made her short of oven wood, and to eke out her supply of fuel
+she burned a loose board of the cellar stairs. The next time she had
+occasion to go to the cellar, she forgot the hiatus she had made and
+broke her leg. After Mr. Chase left us, Whittier told me that his old
+schoolmate was a nephew of the last person usually accounted a witch in
+this neighborhood. She was the wife of Moses Chase of Rocks Village.
+Her relatives believed her a witch, and one of her nieces knocked her
+down in the shape of a persistent bug that troubled her. At that moment
+it happened that the old woman fell and hurt her head. The old lady on
+one occasion went before Squire Ladd, the blacksmith and Justice of the
+Peace at the Rocks, and took her oath that she was not a witch.
+
+[Illustration: JOSHUA COFFIN
+
+    "Olden teacher, present friend,
+    Wise with antiquarian search,
+    In the scrolls of State and Church;
+    Named on history's title-page,
+    Parish-clerk and justice sage."
+              TO MY OLD SCHOOLMASTER]
+
+We next visited the scene of "In School Days," and found some traces of
+the schoolhouse that have since been obliterated, although a tablet now
+marks its site. The door-stone over which the scholars "went storming
+out to playing" was still there, and some of the foundation stones were
+in place. "Around it still the sumachs" were growing, and blackberry
+vines were creeping. Mr. Whittier gathered a handful of the red sumach,
+and took it to Amesbury with him. It remained many days in a vase in
+his "garden room." Speaking of his boyhood, he said he was always glad
+when it came his turn to stay at home on First Day. The chaise, driven
+to Amesbury--nine miles--every First and Fifth Day, fortunately was not
+of a capacity to take the whole family at once. This gave him an
+occasional opportunity, much enjoyed, to spend the day musing by the
+brook, or in the shade of the oaks and hemlocks on the breezy hilltops,
+which commanded a view unsurpassed for beauty. These hills, which so
+closely encompass the ancient homestead at the west and south, are
+among the highest in the county. From them one gets glimpses of the
+ocean in Ipswich Bay, the undulating hills of Newbury, cultivated to
+their tops, on the further side of the Merrimac, the southern ranges
+of the New Hampshire mountains, and the heights of Wachusett and
+Monadnock in Massachusetts. Po Hill, in Amesbury, under which stands
+the Quaker meeting-house where his parents worshiped, shows its great
+round dome in the east. He never tired of these views, and celebrated
+them in many of his poems. He especially dreaded the winter drives to
+meeting. Buffalo robes were not so plenty in those days as they became
+a few years later, and our fathers did not dress so warmly as do we. He
+was so stiffened by cold on some of these drives to Amesbury that he
+told me "his teeth could not chatter until thawed out." Winter had its
+compensations, as he has so well shown in "Snow-Bound." But it is
+noticeable that he does not refer in that poem to the winter drives to
+meeting. On one occasion he improved the absence of his parents on a
+First Day to go nutting. He climbed a tall walnut, and had a fall of
+about twenty feet which came near being fatal. The Friends did not
+theoretically hold one day more sacred than another, and yet theirs was
+the habit of the Puritan community, to abstain from all play as well as
+from work on the Sabbath, and this fall gave a smart fillip to the
+young poet's conscience.
+
+[Illustration: SCENE OF "IN SCHOOL DAYS"]
+
+This story illustrating Whittier's popularity when a child I did not
+get from him, but is a legend of the neighborhood. One of their nearest
+neighbors, a Miss Chase, had a cherry-tree she guarded with the utmost
+jealousy. No bird could alight on it in cherry time, and no boy
+approach it, without bringing her to the rescue with a promptness that
+frightened them. One day she saw a boy in the branches of this precious
+tree, and issued upon the scene with dire threats. She caught sight of
+the culprit's face, and instantly changed her tone: "Oh, is it you,
+Greenleaf? Take all the cherries you want!"
+
+The old homestead was an object of interest as far back as 1842, as is
+shown by a letter before me, written by Elizabeth Nicholson of
+Philadelphia, who asks her friend, Elizabeth Whittier, for a picture of
+it: "When thee come to Philadelphia if thee will bring ever so rough a
+sketch of the house where Greenleaf was born, for Elizabeth Lloyd to
+copy for my book, why--we'll be glad to see thee! I hope for the sake
+of the picturesque it is a ruin--indeed it must be, for Griswold says
+it has been in the family a hundred years!" It had then been in the
+family for over one hundred and fifty years. The book referred to by
+Miss Nicholson was a manuscript collection of all the verses, published
+and unpublished, that Whittier had written at that time--a notable
+collection, now in existence. She had obtained from the poet a preface
+in verse for this album, which as it has autobiographical material,
+refers to the scenery of his birthplace, and was never in print, is
+here given in a version he prepared for another similar album. For
+this version I am indebted to the collection made by Mary Pillsbury of
+Newbury, which contains other original poems of Whittier never
+published:--
+
+
+A RETROSPECT
+
+    O visions of my boyhood! shades of rhymes!
+    Vain dreams and longings of my early times!
+    The work of intervals, a ploughboy's lore,
+    Oft conned by hearthlight when day's toil was o'er;
+    Or when through roof-cracks could at night behold
+    Bright stars in circle with pattens of gold;
+    Or stretched at noon while oaken branches cast
+    A restful shade, where rippling waters passed;
+    The ox unconscious panted at my side,
+    The good dog fondly his young master eyed,
+    And on the boughs above the forest bird
+    Alone rude snatches of the measure heard;
+    The measure that had sounded to me long,
+    And vain I sought to weave it in a song,
+    Or trace it, when the world's enchantment first
+    To longing eye, as kindling dawn's light, burst.
+    Then flattery's voice, in woman's gentlest tone,
+    Woke thoughts and feelings heretofore unknown,
+    And homes of wealth and beauty, wit and mirth,
+    By taste refined, by eloquence and worth,
+    Taught and diffused the intellect's high joy,
+    And gladly welcomed e'en a rustic boy;
+    Or when ambition's lip of flame and fear
+    Burned like the tempter's to my listening ear,
+    And a proud spirit, hidden deep and long,
+    Rose up for strife, stern, resolute, and strong,
+    Eager for toil, and proudly looking up
+    To higher levels for the world, with hope.
+
+In these lines Whittier has told in brief the whole story of his life,
+from his early dreaming by this brookside and at this hearthstone, to
+the waking of his political ambitions, and later to his earnest strife
+to bring up the world "to higher levels."
+
+It happened that the day on which Whittier visited his birthplace for
+the last time was toward the close of a spirited political campaign in
+which Whittier took much interest, as General Butler was a candidate he
+was opposing. Speaking of Butler reminded him of the pet ox of his
+boyhood, which had the odd name of "Old Butler," between whose horns he
+would sit as the animal chewed his cud under the hillside oaks. This
+was the same ox that, in rushing down one of these steep hills for
+salt, could not stop because of his momentum, but saved his young
+master's life by leaping over his head. No doubt this ox was in mind
+when he wrote the line just quoted, "The ox unconscious panted at my
+side." One story reminded him of another, and he said this ox was named
+for another that had its day in a former generation on a neighboring
+farm.
+
+This is the story he told of the original "Old Butler:" A family named
+Morse lived not far from here, and included several boys fond of
+practical joking. The older brothers one day bound the youngest upon
+the back of the ox, Butler. Frightened by the unusual burden, the
+animal dashed away to the woods on Job's Hill. The lad was fearfully
+bruised before he was rescued. Indignant at the treatment he had
+received, he left home the next morning, and was not heard from until
+in his old age he returned to the Haverhill farm, and found his
+brothers still living. They killed for him the fatted calf, and after
+the supper, as they sat before the great wood fire, they talked over
+the events of their boyhood. One of the brothers referred to the
+subject all had hitherto avoided, and said, "Don't you remember your
+ride upon Old Butler?" "Yes, I _do_ remember it," was the answer, "and
+I don't thank you for bringing it up at this time." The next morning he
+left the place, and was never again heard from. Mr. Whittier told this
+story to explain the odd name he had given his ox.
+
+The story has been often told of Garrison's coming out to East
+Haverhill to find a contributor who had interested him; and it has
+been stated that the Quaker lad was called in from work in the field to
+see the dapper young editor and his lady friend. He once told me that
+the situation was a bit more awkward for him. It happened that on this
+eventful morning the young poet had discovered that a hen had stolen
+her nest under the barn, and he was crawling on his hands and knees,
+digging his dusty way towards the hen, when his sister Mary came out to
+summon him to receive city visitors. It was only by her urgent
+persuasion that he was induced to give up burrowing for the eggs. By
+making a wide detour, he entered the house without being seen, and in
+haste effected a change of raiment. In telling the story, he said he
+put on in his haste a pair of trousers that came scarcely to his
+ankles, and he must have been a laughable spectacle. He would have felt
+much more at ease if he had come in just as he was when he emerged from
+under the barn. Garrison, with the social tact that ever distinguished
+him, put the shy boy at his ease at once.
+
+After the death of their father, Greenleaf and his brother Franklin for
+a time worked the farm together, and when in later life they indulged
+in reminiscences of this agricultural experience, this is a story with
+which the poet liked to tease his brother: Franklin was sent to swap
+cows with a venerable Quaker living at considerable distance from their
+homestead. He came back with a beautiful animal, warranted as he
+supposed to be a good cow, and he depended upon a verbal warrant from a
+member of a Society which was justly proud of its reliability in all
+business transactions. It was soon found that she was worthless as a
+milker, and Franklin took her back, demanding a cancellation of the
+bargain because the cow was not as represented. But the old Quaker was
+ready for him: "What did I tell thee? Did I say she was a _good_ cow?
+No, I told thee she was a _harnsome_ cow--and thee cannot deny she _is_
+harnsome!"
+
+One of Whittier's ancestors was fined for cutting oaks on the common.
+When this fact was discovered, he was asked if he would wish this
+circumstance to be omitted in his biography. "By no means," he said,
+"tell the whole story. It shows we had some enterprising ancestors,
+even if a bit unscrupulous."
+
+When Whittier last visited his birthplace, ten years before his death,
+he was saddened by many evidences he saw that the estate was not being
+thriftily managed, and expressed the wish to buy and restore the place
+to something like its condition when it remained in his family. Not one
+of his near relatives was then so situated as to be able to take charge
+of it, and his idea of again making it Whittier homestead was
+reluctantly given up. When he learned, towards the close of his life,
+that Mr. Ordway, Mayor Burnham, and other public-spirited citizens of
+Haverhill, proposed to buy and care for the place, already become a
+shrine for many visitors, he asked permission to pay whatever might be
+needed for its purchase. He died before negotiations could be
+completed, and Hon. James H. Carleton generously bought the homestead,
+and transferred the proprietorship to a self-perpetuating board of nine
+trustees, viz.: Alfred A. Ordway, George C. How, Charles Butters,
+Dudley Porter, Thomas E. Burnham, Clarence E. Kelley, Susan B. Sanders,
+Sarah M. F. Duncan, and Annie W. Frankle. In the deed of gift the
+trustees were enjoined "to preserve as nearly as may be the natural
+features of the landscape; preserve and restore the buildings thereon
+as nearly as may be in the same condition as when occupied by Whittier;
+and to afford all persons, at such suitable times and under such proper
+restrictions as said trustees may prescribe, the right and privilege of
+access to the same, that thereby the memory and love for the poet and
+the man may be cherished and perpetuated." Mr. Ordway was made
+president of the board, and in his hands the office has been no
+sinecure. His unflagging zeal and his unerring good taste have resulted
+not only in putting the ancient house into the perfect order of the
+olden time, but in fertilizing the wornout fields, and preserving for
+future ages one of the finest specimens in the country of the colonial
+farmhouse of New England. Mr. Whittier's niece, to whom he left his
+house in Amesbury, returned to the birthplace many of the household
+treasures that were carried from there in 1836. The articles in the
+house purporting to be Whittier heirlooms may be depended on as
+genuine.
+
+I do not think that Whittier was ever aware that Harriet Livermore, the
+"not unfeared, half-welcome guest," of whom he gave such a vivid
+portrait in "Snow-Bound," returned to America from her travels in the
+Holy Land at about the time that poem was published, and died the next
+year, 1867. I have from good authority this curious story of her first
+reading of those lines which meant so much in a peculiar way to the
+immortality of her name. She was ill, and called with a prescription at
+a drugstore in Burlington, N. J. It happened that the druggist was a
+personal friend of Whittier's--Mr. Allinson, father of the lad for whom
+the poem "My Namesake" was written. This was in March, 1866, and
+Whittier had just sent his friend an early copy of his now famous poem.
+He had not had time to open the book when the prescription was handed
+him. As it would take considerable time to compound the medicine, he
+asked the aged lady to take a seat, and handed her the book he had just
+received to read while waiting. When he gave her the medicine and she
+returned the book, he noticed she was much perturbed, and was mystified
+by her exclamation: "This book tells a pack of lies about me!" He
+naturally supposed she was crazy, both from her remark and from her
+appearance. It was not until some time later that he learned that his
+customer was Harriet Livermore herself!
+
+In another New Jersey town was living at the same time another of the
+"Snow-Bound" characters,--the teacher of the district school, whose
+name even the poet had forgotten when this sketch of him was written.
+In the last year of his life Whittier recalled that his name was
+Haskell, but could tell me no more, except that he was from Maine, and
+was a Dartmouth student. His story is told in "Life and Letters," and
+is now referred to only to note the curious fact that although he lived
+until 1876, and was a cultivated man who no doubt was familiar with
+Whittier's work, yet he was never aware that he had the poet for a
+pupil, and died without knowing that his own portrait had been drawn by
+the East Haverhill lad with whom he had played in this old kitchen. I
+have this from my friend, John Townsend Trowbridge, who was personally
+acquainted with Haskell in the last years of his life.
+
+It was in 1698, ten years after this house was built, that the Indians
+in a foray upon Haverhill burned many houses and killed or captured
+forty persons, including the heroic Hannah Dustin, in whom they caught
+a veritable tartar. Her statue with uplifted tomahawk stands in front
+of the City Hall. It is possible that on her return to Haverhill she
+brought her ten Indian scalps into this kitchen.
+
+Whittier used to tell many amusing stories of his boyhood days. Here is
+one he heard in the old kitchen of the Whittier homestead at Haverhill,
+as told by the aged pastor of the Congregational church in the
+neighborhood, who used to call upon the Quaker family as if they
+belonged to his parish. These extra-official visits were much prized,
+especially by the boys, for he told them many a tale of his own boyhood
+in Revolutionary times. This story of "the power of figures" I can give
+almost in Whittier's words, as I made notes while he was telling it:
+
+The old clergyman sat by the kitchen fire with his mug of cider and
+told of his college life. He was a poor student, and when he went home
+at vacation time, he tramped the long journey on foot, stopping at
+hospitable farmhouses on the way for refreshment. One evening an old
+farmer invited him in, and as they sat by the fire, after a good
+supper, they talked of the things the student was learning at college.
+At length the farmer suggested:--
+
+"No doubt you know the power of figures?"
+
+The student modestly allowed he had learned something of algebra and
+some branches of the higher mathematics.
+
+[Illustration: HARRIET LIVERMORE[2]]
+
+"I know it! I know it! You are just the man I want to see. You know the
+power of figures! I have lost a cow; now use your power of figures and
+find her for me."
+
+The student disclaimed such power, but it was of no use. The farmer
+insisted that one who knew the power of figures must be able to locate
+his cow. Else, of what use to go to college; why not stay at home and
+find the cows after the manner of the unlearned? So the student decided
+to quiz a little. He took a piece of chalk and drew crazy diagrams on
+the floor. The farmer thought he recognized in the lines the roads and
+fences of the vicinity, rubbed his hands, and exclaimed:--
+
+"You are coming to it! Don't tell me you don't know the power of
+figures!"
+
+At last, when the poor student had exhausted the power of his
+invention, he threw down the chalk, and pointing to the spot where it
+fell, said:--
+
+"Your cow is there!"
+
+He had a good bed, but could not rest easy on it for the thought of how
+he was to get out of the scrape in the morning, when it would be surely
+known that his figures had lied. He decided that he would steal off
+before any of the family had arisen. In the early dawn he was
+congratulating himself upon having got out of the house unobserved,
+when he was met at the gate by the old farmer himself, who was leading
+the cow home in triumph. He had found her exactly where the figures had
+foretold. Of course the mathematician must go back to breakfast--what
+was he running off for, after doing such a service by his learning?
+
+They stood again by the cabalistic diagram on the floor of the kitchen.
+
+"You needn't tell me you don't know the power of figures," exclaimed
+the good man, "for the cow was just there!"
+
+For once, the clergyman said, Satan had done him a good turn.
+
+[Illustration: SCENE ON COUNTRY BROOK]
+
+Nearly all the early letters and poems of Whittier, written before he
+gave up every selfish ambition and devoted his life to philanthropic
+work, show how great was the change that came over his spirit when
+about twenty-five years of age. Before that time he imagined that the
+world was treating him harshly, and he was bracing himself for a
+contest with it, with a feeling that he was surrounded by enemies. His
+tone was almost invariably pessimistic. After the change referred to,
+he habitually saw friends on every side, gave up selfish ambitions, and
+a cheerful optimism pervaded his outlook upon life. The following
+extract from a letter written in April, 1831, while editing the "New
+England Review," to a literary lady in New Haven, is in the prevailing
+tone of what he wrote in the earlier period. This letter has only
+lately come into my possession, and is now first quoted:--
+
+     "Disappointment in a thousand ways has gone over my heart,
+     and left it dust. Yet I still look forward with high
+     anticipations. I have placed the goal of my ambitions
+     high--but with the blessing of God it shall be reached. The
+     world has at last breathed into my bosom a portion of its
+     own bitterness, and I now feel as if I would wrestle
+     manfully in the strife of men. If my life is spared, the
+     world shall know me in a loftier capacity than _as a writer
+     of rhymes_. [The italics are his own.] There--is not that
+     boasting?--But I have said it with a strong pulse and a
+     swelling heart, and I shall strive to realize it."
+
+In another letter, written at about the same time to the same
+correspondent, he says: "As for tears, I have not shed anything of the
+kind since my last flogging under the birchen despotism of the Nadir
+Shah of our village school. I have sometimes wished I _could_ shed
+tears--especially when angry with myself or with the world. There is an
+iron fixedness about my heart on such occasions which I would gladly
+melt away."
+
+From the birthplace to the Amesbury home is a distance of nine miles,
+traversed by electric cars in less than an hour. Midway is the thriving
+village of Merrimac, formerly known as West Amesbury. It was at Birchy
+Meadow in this vicinity that Whittier taught his first and only term of
+district school, in the winter of 1827-28. The road is at considerable
+distance from the Merrimac River, and at several points it surmounts
+hills which afford remarkably fine views of the wide and fertile river
+valley, with occasional glimpses of the river itself. At Pond Hills,
+near the village of Amesbury, the landscape presented to view is one of
+the widest and loveliest in all this region. It is a panorama of the
+beautifully rounded hills peculiar to this section, with a tidal river
+winding among them with many a graceful curve. The electric road we
+have taken is about two miles from the left bank of the river, across
+which we look to the Newbury hills, cultivated to their tops, with here
+and there a church spire indicating the location of the distant
+villages. Every part of this lovely valley has been commemorated in
+Whittier's writings, prose and verse.
+
+[Illustration: THE SYCAMORES]
+
+If, instead of the trolley, we take the carriage road from Haverhill
+along the bank of the river, we soon come to what are left of "the
+sycamores," planted in 1739 by Hugh Tallant, in front of the
+Saltonstall mansion. This mansion is now occupied by the Haverhill
+Historical Society, and most of the famous row of "Occidental
+plane-trees" were cut down many years ago, a sacrifice to street
+improvement. Three of the ancient trees still stand, and will probably
+round out the second century of their existence. They are about eighty
+feet in height, and measure nearly twenty feet around their trunks.
+Under these trees Washington "drew rein," and Whittier repeats the
+legend that he said:--
+
+    "I have seen no prospect fairer
+    In this goodly Eastern land."
+
+About a mile below on the northeasterly side of Millvale, a hill
+picturesquely crowned with pines attracts attention. This is the Ramoth
+Hill immortalized in the lovely poem "My Playmate:"--
+
+    "The pines were dark on Ramoth Hill,
+      Their song was soft and low.
+
+          .     .     .     .     .
+
+    "And still the pines of Ramoth wood
+      Are moaning like the sea,--
+    The moaning of the sea of change
+      Between myself and thee!"
+
+Until recently there has been much doubt as to the location of Ramoth
+Hill, Whittier himself giving no definite answer when asked in regard
+to it. Indeed, the poem as originally written had the title "Eleanor,"
+and the hill was given the name of Menahga. But Mr. J. T. Fields, to
+whom the manuscript was submitted, did not like this name, and Whittier
+changed it to Ramoth, which suited his editor's taste. Mr. Alfred A.
+Ordway, the best authority on all matters pertaining to Whittier's
+allusions to places in this region, has discovered that the name
+Menahga was given to this particular hill in Haverhill by Mrs. Mary S.
+West of Elmwood, one of a family all the members of which were dear to
+Whittier from his boyhood to the close of his life. A letter of
+Whittier's to Mrs. West has come to light, written about the time this
+poem was composed, in which he commends the selection of the name of
+this hill, and intimates that he shall use it in a poem.
+
+On the Country Bridge road, leading from the birthplace to Rocks
+Village, is an ancient edifice, known as the "Old Garrison House,"
+which is of interest to Whittier-Land pilgrims because it was the home
+of Whittier's great-grandmother, Mary Peaslee, who brought Quakerism
+into the Whittier family. Thomas Whittier, the pioneer, did not belong
+to the Society of Friends, though favorably disposed toward the sect.
+His youngest son, Joseph, brought the young Quakeress into the family,
+and their descendants for several generations, down to the time of the
+poet, belonged to the sect founded by her father's friend, George Fox.
+Joseph Peaslee built this house with bricks brought from England before
+1675. As it was one of the largest and strongest houses in the town, in
+the time of King Philip's war it was set apart by the town authorities
+as a house of refuge for the families of the neighborhood, and as a
+rallying point for the troops kept on the scout. There are many
+port-holes through its thick walls.
+
+[Illustration: OLD GARRISON HOUSE (PEASLEE HOUSE)]
+
+A little farther on we come to Rocks Village, pictured so perfectly by
+Whittier in his poem "The Countess," that it will be at once
+recognized:--
+
+    "Over the wooded northern ridge,
+      Between its houses brown,
+    To the dark tunnel of the bridge
+      The street comes straggling down."
+
+The bridge across the Merrimac at this point was a covered and gloomy
+structure at the time this poem was written. It has since been
+partially remodeled, and many of the houses of the "stranded village,"
+then brown and paintless, have received modern improvements. But there
+is enough of antiquity still clinging to the place to make it
+recognizable from Whittier's lines. This was the market to which the
+Whittiers brought much of the produce of their farm to barter for
+household supplies. This was the home of Dr. Elias Weld, the "wise old
+doctor" of "Snow-Bound," and it was to him "The Countess" was
+inscribed--the poem which every year brings many visitors hither, for
+the grave of the Countess is near.
+
+[Illustration: ROCKS VILLAGE AND BRIDGE
+
+Home of the Countess was at further end of the bridge, in house now
+standing, afterward occupied by Whittier's benefactor, Dr. Weld.]
+
+Whittier was still in his teens when this eccentric physician left
+Rocks Village and removed to Hallowell, Maine, and almost half a
+century had intervened before he wrote that remarkable tribute to the
+friend and benefactor of his youth, which is found in the prelude to
+"The Countess." The good old man died at Hudson, Ohio, a few months
+after the publication of the lines that meant so much to his fame, and
+it is pleasant to know that they consoled the last hours of his long
+life. Whittier did not know whether or not the benefactor of his
+boyhood was living in 1863, when he wrote the poem, as is shown in the
+lines:--
+
+    "I know not, Time and Space so intervene,
+    Whether, still waiting with a trust serene,
+    Thou bearest up thy fourscore years and ten,
+    Or, called at last, art now Heaven's citizen."
+
+[Illustration: RIVER VALLEY, NEAR GRAVE OF COUNTESS
+
+    "For, from us, ere the day was done
+    The wooded hills shut out the sun.
+    But on the river's further side
+    We saw the hill-tops glorified."
+              THE RIVER PATH]
+
+[Illustration: DR. ELIAS WELD, AT THE AGE OF NINETY]
+
+And yet they were in correspondence in the previous year, as is shown
+by the fact that I find in an old album of Whittier's a photograph
+labeled by him "Dr. Weld," and this photograph, I am assured by Mrs.
+Tracy, a grandniece of Weld, was taken when he was ninety years of age.
+I think it probable that the sending of this photograph by the aged
+physician put Whittier in mind to write his Rocks Village poem, with
+the tribute of remembrance and affection contained in its prelude. As
+to the ancient sulky which--
+
+                       "Down the village lanes
+    Dragged, like a war-car, captive ills and pains,"
+
+it was a chaise with white canvas top, and the doctor always dressed in
+gray, and drove a sober white horse. I have seen a letter of Whittier's
+written to Dr. Weld, then at Hallowell, in March, 1828, in which he
+says: "I am happy to think that I am not forgotten by those for whom I
+have always entertained the most sincere regard. I recollect perfectly
+well that (on one occasion in particular) after hearing thy animated
+praises of Milton and Thomson I attempted to bring a few words to
+rhyme and measure; but whether it was poetry run mad, or, as Burns
+says, 'something that was rightly neither,' I cannot now ascertain; I
+am certain, however, that it was in a great measure owing to thy
+admiration of those poets that I ventured on that path which their
+memory has hallowed, in pursuit of--I myself hardly know what--time
+alone must determine.... I am a tall, dark-complexioned, and, I am
+sorry to say, rather ordinary-looking fellow, bashful, yet proud as any
+poet should be, and believing with the honest Scotchman that 'I hae
+muckle reason to be thankful that I am as I am.'"[3] It is of interest
+further to state that Whittier's life-long friend and co-laborer in the
+anti-slavery field, Theodore D. Weld, was a nephew of "the wise old
+doctor." Also that another nephew, who was adopted as a son by the
+childless physician, was named "Greenleaf" for the young poet in whom
+he took so much interest. The grave of the Countess in the cemetery
+near Rocks Village is now better cared for than when the poem was
+written. This is not the cemetery referred to in the poem "The Old
+Burying-Ground," which is near the East Haverhill church.
+
+In 1844, Whittier was the Liberty Party candidate for representative to
+the General Court from Amesbury, running against Whig and Democratic
+candidates. A majority vote being required there were five attempts to
+elect, in each of which Whittier steadily gained, and it was at last
+evident he would be elected at the next trial. Whereupon the two
+opposing parties united, and the town voted to have _no_ representative
+for 1845. This was at the time of the agitation against the annexation
+of Texas, and Whittier was very anxious to be elected. Towns then paid
+the salaries of their representatives, and could, if they chose, remain
+unrepresented.
+
+At his last visit to his birthplace, in 1882, Whittier called my
+attention to the millstone which serves as a step at the door of the
+eastern porch, to which reference is made on page 18. It was soon after
+this that he wrote his fine poem "Birchbrook Mill," one stanza of which
+was evidently inspired by noticing this doorstep, and by memories of
+the mill of his ancestors on Fernside Brook, the site of which he had
+so recently visited:
+
+    "The timbers of that mill have fed
+      Long since a farmer's fires;
+    His doorsteps are the stones that ground
+      The harvest of his sires."
+
+
+
+
+AMESBURY
+
+
+
+
+II
+
+AMESBURY
+
+
+Following down the left bank of the river, we come, near the village of
+Amesbury, to a sheltered nook between the steep northern hill and the
+broad winding river, known as "Pleasant Valley." At some points there
+is scant room for the river road between the high bluff and the water;
+at others a wedge of fertile intervale pushes back the steep bank. The
+comfortable houses of an ancient Quaker settlement are perched and
+scattered along this road in picturesque fashion. It was a favorite
+walk of Whittier and his sister, and it is commemorated in "The River
+Path,"--
+
+    "Sudden our pathway turned from night;
+    The hills swung open to the light;
+
+    "Through their green gates the sunshine showed,
+    A long, slant splendor downward flowed.
+
+    "Down glade and glen and bank it rolled;
+    It bridged the shaded stream with gold;
+
+    "And, borne on piers of mist, allied
+    The shadowy with the sunlit side!"
+
+When Mr. Whittier returned to Amesbury from the last visit to his
+birthplace, referred to in the preceding chapter, it was by the road
+passing the Old Garrison House, the Countess' grave, Rocks Village, and
+Pleasant Valley. He pointed out each feature of the scene that reminded
+him of earlier days. When we came to Pleasant Valley, he stopped the
+carriage at a picturesque wooded knoll between the road and the river,
+and said that here he used to come with his sister to gather
+harebells. It was so late in the season that every other flower by the
+roadside had been killed by frost; even the goldenrod was more sere
+than yellow. But the harebells were fresh in their delicate beauty, and
+he gathered a handful of them which lighted up his "garden room" for
+several days. I remember that on this occasion an effect referred to in
+"The River Path" was reproduced most beautifully. The setting sun,
+hidden to us, illuminated the hills of Newbury:--
+
+    "A tender glow, exceeding fair,
+    A dream of day without its glare.
+
+    "With us the damp, the chill, the gloom:
+    With them the sunset's rosy bloom;
+
+    "While dark, through willowy vistas seen,
+    The river rolled in shade between."
+
+To a friend in Brooklyn who inquired in regard to the origin of this
+poem, Mr. Whittier wrote: "The little poem referred to was suggested by
+an evening on the Merrimac River, in company with my dear sister, who
+is no longer with me, having crossed the river (as I fervently hope) to
+the glorified hills of God."
+
+"The Last Walk in Autumn" is another poem inspired by the scenery of
+this locality. At the lower end of this valley, near the mouth of the
+Powow, on the edge of the bluff overlooking the Merrimac, Goody Martin
+lived more than two hundred years ago, and the cellar of her house was
+still to be seen when, in 1857, Whittier first told the story of "The
+Witch's Daughter," the poem now known as "Mabel Martin." She was the
+only woman who suffered death on a charge of witchcraft on the north
+side of the Merrimac. One other aged woman in this village was
+imprisoned, and would have been put to death, but for the timely
+collapse of the persecution. She was the wife of Judge Bradbury, and
+lived on the Salisbury side of the Powow. In his ballad Whittier traces
+the path he used to take towards the Goody Martin place, as was his
+custom in many of his ballads. One who desires to take this path can
+enter upon it at the Union Cemetery, where the poet is buried. Follow
+the "level tableland" he describes towards the Merrimac, looking down
+at the left into the deep and picturesque valley of the Powow,--a
+charming view of its placid, winding course after it has made its
+plunge of eighty feet over a shoulder of Po Hill,--until you
+
+    ... "see the dull plain fall
+    Sheer off, steep-slanted, ploughed by all
+    The seasons' rainfalls,"
+
+and you look down upon the broad Merrimac seeking "the wave-sung
+welcome of the sea." Find a path winding down the bluff facing the
+river, half-way down to the hat factory which is close to the water,
+and you are upon the location of Goody Martin's cottage. But no trace
+is now to be seen of "the cellar, vine overrun" which the poet
+describes.
+
+[Illustration: CURSON'S MILL, ARTICHOKE RIVER]
+
+I visited the spot with the poet on the October day before referred to,
+and noted the felicity of his descriptions of the locality. It is near
+the river, but high above it, and one looks _down_ upon the tops of
+the willows on the bank:--
+
+    "And through the willow-boughs _below_
+    She saw the rippled waters shine."
+
+Opposite Pleasant Valley, on the Newbury side of the river, are "The
+Laurels," "Curson's Mill," and the mouth of the Artichoke, celebrated
+in several poems. In June, when the laurels are in bloom, this shore is
+well worth visiting for its natural beauties, as well as for the
+association of Whittier's frequent allusion to it in prose as well as
+verse. It was for the "Laurel Party," an annual excursion of his
+friends to this shore, that he wrote the poems, "Our River,"
+"Revisited," and "The Laurels." In "June on the Merrimac" he sings:--
+
+    "And here are pictured Artichoke,
+      And Curson's bowery mill;
+    And Pleasant Valley smiles between
+      The river and the hill."
+
+In the stanza preceding this he takes a view down the Merrimac, past
+Moulton's Hill in Newbury,--an eminence commanding one of the finest
+views on the river, formerly crowned with a castle-like structure
+occupied for several years as the summer residence of Sir Edward
+Thornton,--to the great bend the river makes in passing its last rocky
+barrier at Deer Island. The Hawkswood oaks are a magnificent feature of
+the scene. This estate, on the Amesbury side of the river, was formerly
+occupied by Rev. J. C. Fletcher, of Brazilian fame.
+
+    "The Hawkswood oaks, the storm-torn plumes
+      Of old pine-forest kings,
+    Beneath whose century-woven shade
+      Deer Island's mistress sings."
+
+[Illustration: DEER ISLAND AND CHAIN BRIDGE]
+
+The Merrimac, beautiful as are its banks along its entire course,
+nowhere presents more picturesque scenery than where it passes through
+the deep valley it has worn for itself between the hills of Amesbury
+and Newbury, and especially where its tidal current is parted by the
+perpendicular cliffs of Deer Island. At this point the quaint old chain
+bridge, built about a century ago, spans the stream. This island is the
+home of Harriet Prescott Spofford, who is referred to in the stanza
+just quoted. About forty years ago, it was proposed to build a summer
+hotel on this island, which is four or five miles from the mouth of the
+Merrimac. I have found among Mr. Whittier's papers an unfinished poem,
+protesting against what he considered a desecration of this spot which
+always had a great charm for him. It is likely that the reason why this
+poem was never finished or published was because the project of
+building a hotel was abandoned. I have taken the liberty to give as a
+title for it "The Plaint of the Merrimac." As it was written in almost
+undecipherable hieroglyphics, some of the words are conjectural:--
+
+    "I heard, methought, a murmur faint,
+    Our River making its complaint;
+    Complaining in its liquid way,
+    Thus it said, or seemed to say:
+
+    "'What 's all this pother on my banks--
+    Squinting eyes and pacing shanks--
+    Peeping, running, left and right,
+    With compass and theodolite?
+
+    "'Would they spoil this sacred place?
+    Blotch with paint its virgin face?
+    Do they--is it possible--
+    Do they dream of a hotel?
+
+    "'Match against my moonlight keen
+    Their tallow dip and kerosene?
+    Match their low walls, plaster-spread,
+    With my blue dome overhead?
+
+    "'Bring their hotel din and smell
+    Where my sweet winds blow so well,
+    And my birches dance and swing,
+    While my pines above them sing?
+
+    "'This puny mischief has its day,
+    But Nature's patient tasks alway
+    Begin where Art and Fashion stopped,
+    O'ergrow, and conquer, and adopt.
+
+    "'Still far as now my tide shall flow,
+    While age on age shall come and go,
+    Nor lack, through all the coming days,
+    The grateful song of human praise.'"
+
+Before the chain bridge was built, a ferry was maintained at the mouth
+of the Powow, and here Washington crossed the river at his last visit
+to New England. It is said that a French ship lay at the wharf near the
+ferry, and displayed the French flag over the American because of the
+French feeling against the policy of Washington's administration.
+Washington refused to land until the obnoxious flag was lowered to its
+proper place.
+
+It was a one-story cottage on Friend Street, Amesbury, to which the
+Whittiers came in July, 1836--a cottage with but four rooms on the
+ground floor, and a chamber in the attic. The sum paid for this
+cottage, with about an acre of land, was twelve hundred dollars. The
+Haverhill farm was sold for three thousand dollars. Accustomed to the
+comparatively large ancestral home at Haverhill, it is no wonder that
+there was at first a feeling of homesickness, as is evidenced in the
+diary kept by Elizabeth. This feeling was naturally intensified by the
+prolonged absences of her brother, who from 1836 to 1840 was away from
+home most of the time, engaged with his duties as secretary of the
+anti-slavery society in New York, and as editor of the "Pennsylvania
+Freeman" in Philadelphia. During these years, the only occupants of the
+cottage were Whittier's mother, his sister Elizabeth, and his aunt
+Mercy, except when his frequent illnesses, and his interest in the
+political events of the North Essex congressional district, called him
+home. But in 1840, his residence in Amesbury became permanent. At about
+this time he made the tour of the country with the English
+philanthropist, Joseph Sturge, who noticed his straitened
+circumstances, and out of the largeness of his heart, in a most
+delicate way, not only gave him financial assistance at the time, but
+seven years later enabled him to build a two-story ell to the cottage,
+and add a story to the eastern half of the original structure. A small
+ell of one story, occupying part of the space of the present "garden
+room," was built by Mr. Whittier when he bought the cottage in 1836,
+and this was aunt Mercy's room. At the later enlargement of the house
+this small room was lengthened, and a chamber built over it. In the
+lower floor of this enlarged ell is the room which has ever since been
+known as the "garden room," because it was built into the garden, and a
+much prized fruit tree was sacrificed to give it place. The chamber
+over this room was occupied by Elizabeth until her death in 1864, and
+after that by Mr. Whittier.
+
+[Illustration: THE WHITTIER HOME, AMESBURY]
+
+While repairs were making in this part of the house in the summer of
+1903, a package of old letters was found in the wall, bearing the date
+of 1847, the year when the enlargement was made. One of them reveals
+the source of the money required for the improvement. It was from Lewis
+Tappan of New York, the financial backbone of the anti-slavery society,
+inclosing a check for arrears of salary due Whittier for editorial
+work. Mr. Tappan writes: "I will ask the executive committee to raise
+the compensation. I wish we could pay you according to the real value
+of your productions, rather than according to their length.... Inclosed
+is a check for one hundred dollars. Mr. Sturge authorizes me to draw on
+him for one thousand dollars at any time when you and I should think it
+could be judiciously invested in real estate for your family. I can
+procure the money in a week by drawing on him. When you have made up
+your mind as to the investment, please let me know."
+
+At this time the poet was feeling the pinch of real poverty and was
+living in a little one-story cottage that gave him no room for a study,
+and no suitable chamber for a guest. It was at this time that he
+received the letter which contained not only a check for overdue
+salary, but a promise of a gift of one thousand dollars from his
+generous English friend, Joseph Sturge. The result of this beneficence
+was the building of the "garden room," to which thousands of visitors
+come from all parts of this and other countries, because in it were
+written "Snow-Bound," "The Eternal Goodness," and most of the poems of
+Whittier's middle life and old age. Mr. Sturge had sent Whittier six
+years earlier a draft for one thousand dollars, intending it should be
+used by him in traveling for his health. But Whittier had given most of
+this toward the support of an anti-slavery paper in New York. Two years
+later the same generous friend offered to pay all his expenses if he
+would come to England as his guest, an offer he was obliged to decline.
+A portrait of Sturge is appropriately placed in this room. Tappan's
+letter was written April 21, 1847, and the addition to the cottage was
+built in the summer of that year. The whole expense of the improvement
+was no doubt covered by Sturge's gift. Other interesting letters of the
+same period were included in the package in the wall.
+
+[Illustration: JOSEPH STURGE, THE ENGLISH PHILANTHROPIST
+
+    "The very gentlest of all human natures
+    He joined to courage strong."
+        IN REMEMBRANCE OF JOSEPH STURGE]
+
+In a drawer of the desk is a most remarkable album of autographs of
+public men, presented to Mr. Whittier on his eightieth birthday, by the
+Essex Club. It is a tribute to the poet signed by every member of the
+United States Senate and House of Representatives, the Supreme Court of
+the United States, the Governor, ex-Governors, and Supreme Court of
+Massachusetts, and all the members of the Essex Club; also, many
+distinguished citizens, such as George Bancroft (who adds to his
+autograph "with special good wishes to the coming octogenarian"),
+Robert C. Winthrop, Frederick Douglass, and J. G. Blaine. An eloquent
+speech of Senator Hoar, who suggested this unique tribute, is engrossed
+in the exquisite penmanship of a colored man, to whom was intrusted the
+ornamental pen-work of the whole volume. The congressional signatures
+were obtained by Congressman Coggswell of the Essex district. It is
+noticeable that no Southern member declined to sign this tribute to one
+so identified with the anti-slavery movement.
+
+The "garden room" remains almost precisely as when occupied by the
+poet--the same chairs, open stove, books, pictures, and even wall-paper
+and carpet, remaining in it as he placed them. In the north window the
+flowers pressed between the plates of glass are those on receipt of
+which he wrote "The Pressed Gentian." By the desk is the cane he
+carried for more than fifty years, made of wood from his office in
+Pennsylvania Hall, burned by a pro-slavery mob in 1838. This is the
+cane for which he wrote the poem "The Relic:"--
+
+    "And even this relic from thy shrine,
+      O holy Freedom! hath to me
+    A potent power, a voice and sign
+      To testify of thee;
+    And, grasping it, methinks I feel
+    A deeper faith, a stronger zeal."
+
+[Illustration: THE "GARDEN ROOM," AMESBURY HOME]
+
+He had many canes given him, some valuable, but this plain stick was
+the only one he ever carried. With this cane may be seen one made of
+oak from the cottage of Barbara Frietchie--not, as was erroneously
+stated in the biography, a cane carried by the patriotic Barbara. The
+portraits he hung in this room are of Garrison, Thomas Starr King,
+Emerson, Longfellow, Sturge, "Chinese" Gordon, and Matthew Franklin
+Whittier. There is also a fine picture of his birthplace, a water-color
+sent him by Bayard Taylor from the most northern point in Norway, and a
+picture, also sent by Bayard Taylor, of the Rock in El Ghor, on receipt
+of which the poem of that title was written. The Norway picture was
+painted by Mrs. Taylor, and represents the surroundings of the
+northernmost church in the world. The mirror in this room is an
+heirloom of the Whittier family, dating at least a century before the
+birth of the poet. The little table under it is almost equally old.
+
+The album containing the likeness of Dr. Weld has also a photograph
+under which Whittier has written "Mary E. S. Thomas," and this has a
+special interest, as it is a portrait of his relative, schoolmate, and
+life-long friend, Mary Emerson Smith, who became the wife of Judge
+Thomas of Covington, Ky. She was a granddaughter of Captain Nehemiah
+Emerson, who fought at Bunker Hill, was an officer in the army of
+Washington, serving at Valley Forge and at the surrender of Burgoyne,
+and her grandmother was Mary Whittier--a cousin of the poet's father,
+whom Whittier used to call "aunt Mary." For a time, when in his teens,
+he stayed at Captain Emerson's, and went to school from there, making
+himself useful in doing chores. Mary Smith, then a young girl, passed
+much of her time at her grandfather's, and later was a fellow-student
+of Whittier's at the Academy. I think there is now no impropriety in
+stating that it is to her that the poem "Memories" refers.[4] She was
+living at the time when the biography of Whittier was written, and for
+that reason her name was not given, but only a veiled reference in
+"Life and Letters," as at page 276. During many years of her widowhood
+she spent the summer months in New England, and occasionally met Mr.
+Whittier at the mountains. They were in friendly correspondence to the
+close of his life. She survived him several years. It has been
+suggested with some show of probability that it is a memory of the days
+they spent together at her grandfather's that is embodied in the poem
+"My Playmate." At the time when this poem was written she was living in
+Kentucky.
+
+    "She lives where all the golden year
+      Her summer roses blow;
+    The dusky children of the sun
+      Before her come and go."
+
+But this poem, like others of Whittier's, is probably a composite of
+memories and largely imaginative, as is shown in what is elsewhere said
+about the localities of Ramoth Hill and Folly Mill.
+
+[Illustration: MARY EMERSON (SMITH) THOMAS]
+
+[Illustration: EVELINA BRAY, AT THE AGE OF SEVENTEEN]
+
+In the "garden room" also is a miniature on ivory of a beautiful girl
+of seventeen, crowned with roses. This is Evelina Bray of Marblehead, a
+classmate of Whittier's at the Academy in the year 1827, when this
+portrait was painted. But for adverse circumstances, the school
+acquaintance which led to a warm attachment between them might have
+resulted in marriage. But the case was hopeless from the first. He was
+but nineteen years old, and she seventeen. On both sides the families
+opposed the match. Among the Quakers marriage "outside of society" was
+not to be thought of in those days; in his case it would mean the
+breaking up of a family circle dependent on him, and a severance from
+his loved mother and sister. This same reason prevented the ripening of
+other attachments in later life; for in each case his choice would
+have been "out of society." Two or three years after they parted at the
+close of an Academy term, he walked from Salem to Marblehead before
+breakfast on a June morning, to see his schoolmate. He was then editing
+the "American Manufacturer," in Boston. She could not invite him in,
+and they walked to the old ruined fort, and sat on the rocks
+overlooking the beautiful harbor. This meeting is commemorated in three
+stanzas of one of the loveliest of his poems, "A Sea Dream"--a poem, by
+the way, not as a whole referring to Marblehead or to the friend of his
+youth. But I have good authority for the statement that these three
+stanzas refer directly to the Marblehead incident. All who are familiar
+with the locality will recognize it in these verses:--
+
+[Illustration: WHITTIER, AT THE AGE OF TWENTY-TWO]
+
+    "The waves are glad in breeze and sun,
+      The rocks are fringed with foam;
+    I walk once more a haunted shore,
+      A stranger, yet at home,
+      A land of dreams I roam.
+
+    "Is this the wind, the soft sea-wind
+      That stirred thy locks of brown?
+    Are these the rocks whose mosses knew
+      The trail of thy light gown,
+      Where boy and girl sat down?
+
+    "I see the gray fort's broken wall,
+      The boats that rock below;
+    And, out at sea, the passing sails
+      We saw so long ago
+      Rose-red in morning's glow."
+
+With a single exception, these schoolmates did not meet again for more
+than fifty years, and Whittier was never aware of this exception. In
+middle life, when the poet was editing the "Pennsylvania Freeman," and
+Miss Bray was engaged with Catherine Beecher in educational work, they
+once happened to sit side by side in the pew of a Philadelphia church,
+but he left without recognizing her, and she was too shy to speak to
+him. I had the story from a lady who as a little girl sat in the pew
+with them, and knew them both. Miss Bray married an Englishman named
+Downey, and in a romantic way[5] Mr. Whittier discovered her address.
+Mr. Downey was an evangelist making a crusade in the great cities
+against Romanism, and met his death from wounds received in facing a
+New York mob. Whittier, supposing he was poor, and that his schoolmate
+was having a hard time, sent Downey money without her knowledge. She
+accidentally discovered this and returned the money. In her widowhood
+she occasionally corresponded with Mr. Whittier, who induced her to
+come to the reunion of his schoolmates in 1885, more than fifty years
+after their parting at Marblehead, and more than forty years after the
+chance meeting in Philadelphia. At this reunion she gave him the
+miniature reproduced in our engraving, which was returned to her after
+Whittier's death. When she died it went to another schoolmate, the wife
+of Rev. Dr. S. F. Smith, author of our national hymn. From her it came
+to Whittier's niece, and is now kept in the drawer where the poet
+originally placed it. With it is the first portrait ever taken of
+Whittier--it being painted by the same artist (J. S. Porter) two or
+three years after the girl's miniature, while he was editing the
+"Manufacturer."
+
+[Illustration: EVELINA BRAY DOWNEY]
+
+Here is an extract from a note Whittier sent Mrs. Downey soon after the
+reunion: "Let me thank thee for the picture thee so kindly left with
+me. The sweet, lovely girl face takes me back to the dear old days, as
+I look at it. I wish I could give thee something half as valuable in
+return." The portrait of Mrs. Downey at the age of eighty, here given,
+is from a photograph she contributed to an album presented to Whittier
+by his schoolmates of 1827, after the reunion of 1885. Rev. Dr. S. F.
+Smith attended this reunion in place of his wife, who was then an
+invalid, and he wrote to his wife this account of the appearance of her
+old schoolmate at that meeting: "She looked, O so _distingué_, in black
+silk, with a white muslin veil, reaching over the silver head and down
+below the shoulders. Just as if she were a Romish Madonna, who had
+stepped out from an old church painting to hold an hour's communion
+with earth."
+
+I was in correspondence with Mrs. Downey during the last years of her
+life, but she would not give me permission to call upon her, and the
+reason given was that I had seen the miniature, and she preferred to be
+remembered by that. She was very shy about telling of her early
+acquaintance with Whittier, and whatever I could learn was by
+indirection. For instance, I obtained the Marblehead story by her
+sending me a copy of Whittier's poems which he had given her, and she
+had drawn a line around the stanzas quoted above. No word accompanied
+the book. Of course I guessed what she meant, and asked if my guess was
+correct. She replied "Yes," and no more. Whittier said he had the
+Captain Ireson story from a schoolmate who came from Marblehead. I
+asked her if she, as the only Marblehead schoolmate, was the person
+referred to, and received an emphatic "No." To an intimate friend she
+once said that during her early acquaintance with Whittier it seemed as
+if the devil kept whispering to her, "He is only a shoemaker!"
+
+The apartment now used as a reception room was the kitchen of the
+original cottage, and has the large fireplace and brick oven that were
+universal in houses built a century ago. A small kitchen was later
+built as an ell, and this central room became the dining room,
+remaining so as long as Mr. Whittier lived. In the reception room is a
+large bookcase filled with a part of the poet's library, exactly as
+when he was living here. His books overrun all the rooms in the house,
+and many are packed in closets. The large engraving of Lincoln over the
+mantel is an artist's proof, and was placed there by Whittier forty
+years ago. An ancient mirror in this room, surmounted by a gilt eagle,
+was broken by a lightning stroke in September, 1872. The track of the
+electrical current may still be seen in the blackening of a gilt
+moulding in the upper left corner. The broken glass fell over a member
+of the family sitting under it, and Whittier himself, who was standing
+near the door of the "garden room," was thrown to the floor. All in the
+house were stunned and remained deafened for several minutes, but no
+one was seriously injured. Up to that time the house had been protected
+by lightning rods; but Mr. Whittier now had them removed, and refused
+to have them replaced, though much solicited by agents. In revenge, one
+of the persistent brotherhood issued a circular having a picture of
+this house with a thunderbolt descending upon it, as an awful warning
+against neglect! He had the impudence to emphasize his fulmination by
+printing a portrait of the poet, who, it was intimated, would yet be
+punished for defying the elements.
+
+The old parlor, the principal room of the original cottage, has
+suffered no change in the several remodelings of the house. The beams
+in the corners show a frame of the olden style--for the cottage had
+been built many years when the Whittiers came here. The clear pine
+boards in the dado are two feet in width. In this room are placed many
+memorials of the poet of interest to visitors. What to him was the most
+precious thing in the house is the portrait of his mother over the
+mantel--a work of art that holds the attention of the most casual
+visitor. The likeness to her distinguished son is remarked by all. One
+sees strength of character in the beautiful face, and a dignity that is
+softened by sweetness and serenity of spirit. The plain lace cap, white
+kerchief, drab shawl, and folded hands typify all the Quaker virtues
+that were preëminently hers.
+
+On the opposite wall is the crayon likeness of Elizabeth, the dearly
+loved sister, so tenderly apostrophized in "Snow-Bound:"--
+
+    "I cannot feel that thou art far,
+    Since near at need the angels are;
+    And when the sunset gates unbar,
+      Shall I not see thee waiting stand,
+    And, white against the evening star,
+      The welcome of thy beckoning hand?"
+
+When she died, in 1864, her friend, Lucy Larcom, had this excellent
+portrait made and presented it to the bereaved brother, and it has hung
+on this wall nearly forty years. All the other members of the
+"Snow-Bound" family are here represented by portraits, except the
+father and uncle Moses, of whom no likenesses exist, save as found in
+the poet's lines. The Hoit portrait of Whittier, painted when he was
+about forty years of age, was kept out of sight in a seldom-used
+chamber, while the poet was living, for he allowed no picture of
+himself to be prominently displayed. The portrait of his brother was
+painted when he was about forty years of age. A small photograph of his
+older sister, Mary Caldwell, is shown, and a silhouette of aunt Mercy;
+also a portrait of his brother's daughter, Elizabeth (Mrs. Pickard),
+who was a member of his household for twenty years, and to whom he left
+this house and its contents by his will. Her son Greenleaf, to whom
+when four years of age his granduncle inscribed the poem "A Name," now
+resides here.
+
+[Illustration: MRS. PICKARD]
+
+In this parlor is the desk on which "Snow-Bound" was written, also "The
+Tent on the Beach" and other poems of this period. The success of
+these poems enabled him to buy a somewhat better desk, now to be seen
+in the "garden room," where this desk formerly stood. In this desk are
+presentation copies of many books, with the autographs of their
+authors--Harriet Beecher Stowe, Lydia Maria Child, Miss Mitford, Julia
+Ward Howe, John Hay, T. B. Aldrich, and others. Here also is the diary
+kept by Elizabeth Whittier, in the years 1835-37, covering the period
+of the removal from Haverhill to Amesbury. Of antiquarian interest is
+an account-book of the Whittier family, from 1786 to 1800, going into
+minute details of household expenses, and containing many times
+repeated the autographs of Whittier's grandfather, his father, and his
+uncles Moses and Obadiah, who recorded their annual settlements of
+accounts in this book. Near the desk are bound volumes of papers
+edited by Whittier--the "New England Review" of 1830, the "Pennsylvania
+Freeman" of 1840, and the "National Era" of 1847-50. These contain much
+of his prose and verse never collected. The Rogers group of statuary
+representing Whittier, Beecher, and Garrison listening to the story of
+a fugitive slave girl, who holds an infant in her arms, is in the
+corner of the room, where it has been for about thirty years. The
+garden, in the care of which Mr. Whittier took much pleasure, comprises
+about one half acre of land. He had peach, apple, and pear trees--but
+the peaches gave out and were not renewed. He also raised grapes,
+quinces, and small fruit in abundance. The rosebush he prized as his
+mother's favorite is still flourishing, as are also the fine magnolia,
+laburnum, and cut-leaved birch of his planting. The ash tree in front
+of the house was planted by his mother.
+
+While gathering grapes in an arbor in this garden, in 1847, Mr.
+Whittier received a bullet wound in the cheek. Two boys were firing at
+a mark on the grounds of a neighbor, and this mark was near where
+Whittier stood, but on account of a high fence they did not see him.
+When the bullet struck him, he was so concerned lest his mother should
+be alarmed by the accident that he said nothing, not even notifying the
+boys. He bound up his bleeding face in a handkerchief and called on Dr.
+Sparhawk, who lived near. As soon as the wound was dressed, he came
+home and gave his family their first notice of the accident. The boys
+had not then learned the result of their carelessness. The lad who
+fired the gun was named Philip Butler, and he has since acquired a high
+reputation as an artist. The painting representing the Haverhill
+homestead which is to be seen at the birthplace was executed by this
+artist. He tells of the kindness with which Whittier received his
+tearful confession. It was during the first days of the Mexican war,
+and some of the papers humorously commented upon it as a singular fact
+that the first blood drawn was from the veins of a Quaker who had so
+actively opposed entering upon that war.
+
+[Illustration: SCENE IN GARDEN, AT WHITTIER'S FUNERAL]
+
+Once while his guest at Amesbury, I went with him to town meeting. He
+was one of the first men in the town to vote that morning, and after
+voting spent an hour talking politics with his townsmen. General C.,
+his candidate for Congress, had been intemperate, and the temperance
+men were making that excuse for voting in favor of Colonel F., who,
+Whittier said, always drank twice as much as C., but was harder headed
+and stood it better. Other candidates were being scratched for reasons
+as flimsy, and our Grand Old Man was getting disgusted with the Grand
+Old Party, as represented at that meeting. He said to a friend he met,
+"The Republicans are scratching like wild cats." In the evening an old
+friend and neighbor called on him, and was complaining of Blaine and
+other party leaders. At last Mr. Whittier said, "Friend Turner, has
+thee met many angels and saints in thy dealings with either of the
+parties? Thy experience should teach thee not to expect too much of
+human nature." On the same evening he told of a call Mr. Blaine made
+upon him some time previously. The charm of his manner, he said,
+recalled that of Henry Clay, as he remembered him. On that occasion
+Blaine made a suggestion for the improvement of a verse in the poem
+"Among the Hills," which Whittier adopted. The verse is descriptive of
+a country maiden, who was said to be
+
+    "Not beautiful in curve and line."
+
+Blaine suggested as an amendment,--
+
+    "Not _fair alone_ in curve and line;"
+
+and this is the reading in the latest editions.
+
+[Illustration: THE FERRY, SALISBURY POINT
+
+Mouth of Powow in foreground at the right hidden by its own banks in
+this picture. Hawkswood in distance at extreme right.]
+
+Thomas Wentworth Higginson, during his residence in Newburyport, was
+often a guest at the Amesbury home, and he has this to say of each
+member of the family: "The three members of the family formed a perfect
+combination of wholly varying temperaments. Mrs. Whittier was placid,
+strong, sensible, an exquisite housekeeper and 'provider;' it seems to
+me that I have since seen no whiteness to be compared to the snow of
+her table-cloths and napkins. But her soul was of the same hue; and all
+worldly conditions and all the fame of her children--for Elizabeth
+Whittier then shared the fame--were to her wholly subordinate things,
+to be taken as the Lord gave. On one point only this blameless soul
+seemed to have a shadow of solicitude, this being the new wonder of
+Spiritualism, just dawning on the world. I never went to the house that
+there did not come from the gentle lady, very soon, a placid inquiry
+from behind her knitting-needles, 'Has thee any farther information to
+give in regard to the spiritual communications, as they call them?' But
+if I attempted to treat seriously a matter which then, as now, puzzled
+most inquirers by its perplexing details, there would come some keen
+thrust from Elizabeth Whittier which would throw all serious solution
+further off than ever. She was indeed a brilliant person, unsurpassed
+in my memory for the light cavalry charges of wit; as unlike her mother
+and brother as if she had been born into a different race. Instead of
+his regular features she had a wild, bird-like look, with prominent
+nose and large liquid dark eyes, whose expression vibrated every
+instant between melting softness and impetuous wit; there was nothing
+about her that was not sweet and kindly, but you were constantly taxed
+to keep up with her sallies and hold your own; while her graver brother
+listened with delighted admiration, and rubbed his hands over bits of
+merry sarcasm which were utterly alien to his own vein."
+
+[Illustration: POWOW RIVER AND PO HILL]
+
+The village of Amesbury enjoyed a sense of proprietorship in Whittier
+which it never lost, even when Danvers claimed him for a part of each
+year. He did not give up the old house, consecrated by memories of his
+mother and sister, but returned to it oftener and oftener in his last
+years, and he hoped that he might spend his last days on earth where
+his mother and sister died. The feeling of the people of Amesbury was
+expressed in a poem written by a neighbor, and published in the village
+paper, under the title of "Ours," some stanzas of which are here
+given:--
+
+    "I say it softly to myself,
+      I whisper to the swaying flowers.
+    When he goes by, ring all your bells
+      Of perfume, ring, for he is ours.
+
+    "Ours is the resolute, firm step,
+      Ours the dark lightning of the eye,
+    The rare sweet smile, and all the joy
+      Of ownership, when he goes by.
+
+          .     .     .     .     .
+
+    "I know above our simple spheres
+      His fame has flown, his genius towers;
+    These are for glory and the world.
+     But he himself is only ours."
+
+[Illustration: FRIENDS' MEETING-HOUSE AT AMESBURY]
+
+The Friends' meeting-house, in 1836, was nearly opposite the Whittier
+cottage, on the site of the present French Catholic church. Two
+centuries ago there had been an earlier meeting-house of the Society,
+also on Friend Street, and the name of the street was given on this
+account. The present meeting-house, on the same street, was built in
+1851, upon plans made by Mr. Whittier, who was chairman of the
+committee having it in charge. He once told me that some conservative
+Friends were worried lest he make the house too ornate. To satisfy
+them, he employed three venerable carpenters, one of them a Quaker
+minister and the other two elders of the Society, and the result was
+this perfectly plain, neat structure, comfortable in all its
+appointments. Visitors like to find the seat usually occupied by
+Whittier. It is now marked by a silver plate. I have accompanied him to
+a First Day service here, in which for a half hour no one was moved to
+say a word. And this was the kind of service he much preferred to one
+in which the time was "fully occupied." The meeting was dismissed
+without a spoken word, the signal being the shaking of hands by two of
+the elders on the "facing seats." Then each worshiper shook the hand of
+the person next him. There was no sudden separation. The company formed
+itself into groups for a pleasant social reunion. In the group that
+surrounded Whittier were ten or twelve octogenarians, whom he told me
+he had met in this way almost every week since his boyhood; for even
+when living in Haverhill, this was the meeting his family attended. It
+was delightful to see the warmth and tenderness of the greetings of
+these venerable life-long friends. I once accompanied him to a
+devotional meeting, where many of the leading Friends of the Society
+were present, and as the papers had announced the names of several
+speakers from distant States, he expressed the fear that there would be
+no opportunity to get "into the quiet." As the speakers followed each
+other in rapid succession, he asked me if I had a bit of paper and a
+pencil with me. Then he appeared to be taking notes of the proceedings.
+I fancied some of the speakers noticed his pencil, and were spurred by
+it to an enlargement of utterance. When we were at home, I asked what
+he had written. He smiled and handed me his "notes," which are before
+me as I write. "Man spoke," "Woman sang," "Man prayed," and so on for
+no less than fourteen items. Being slightly deaf, he had heard scarcely
+anything, and had been noting the number and variety of the
+performances. It was his protest against much speaking. At dinner the
+same day, his cousin, Joseph Cartland, commented upon the inarticulate
+sounds that accompanied the remarks of one or two of the speakers. "Let
+us shame them out of it," he said, "let's call it grunting." "Oh, no,
+Joseph," said Whittier, "don't thee do that--take away the grunt, and
+nothing is left!"
+
+[Illustration: INTERIOR OF FRIENDS' MEETING-HOUSE
+
+Whittier's usual seat marked, on left side, near "facing seats."]
+
+Mr. Whittier had many wonderful stories illustrating the guidance of
+the spirit to which members of the Society of Friends submitted in the
+daily intercourse of life. One was of an aged Friend, who never failed
+to attend meeting on First Day. But one morning he told his wife that
+he was impelled to take a walk instead of going to meeting, and he knew
+not whither he should go. He went into the country some distance and
+came to a lane which led to a house. He was impressed to take this
+lane, and soon reached a house where a funeral service was in progress.
+At the close of the service he arose, and said that he knew nothing of
+the circumstances connected with the death of the young woman lying in
+the casket, but he was impelled to say that she had been accused of
+something of which she was not guilty, and the false accusation had
+hastened her death. Then he added that there was a person in the room
+who knew she was not guilty, and called upon this person, whoever it
+might be, to vindicate the character of the deceased. After a solemn
+pause, a woman arose and confessed she had slandered the dead girl. In
+telling such stories as this, Mr. Whittier did not usually express full
+and unreserved belief in their truth, but he maintained the attitude of
+readiness to believe anything of this kind which was well
+authenticated, and he approved of the methods of work adopted by the
+Society for Psychical Research in England and in this country.
+
+[Illustration: CAPTAIN'S WELL]
+
+The hills encircling the lovely valley of the short and busy Powow
+River, beginning with the southwestern extremity of the amphitheatre,
+are: Bailey's, on the declivity of which, overlooking the Merrimac, is
+the site of Goody Martin's cottage, the scene of the poem of "Mabel
+Martin;" next is the ridge on which is the Union Cemetery where
+Whittier is buried; then Whittier Hill, named not for the poet but for
+his first American ancestor who settled here, and locally called
+"Whitcher Hill"--showing the ancient pronunciation of the name; then,
+across the Powow, are Po, Mundy, Brown's, and Rocky hills. On a lower
+terrace of the Union Cemetery ridge, and near the cemetery, is the Macy
+house, built before 1654 by Thomas Macy, first town clerk of Amesbury
+(and ancestor of Edwin M. Stanton, the great war secretary), who was
+driven from the town for harboring a proscribed Quaker in 1659, as told
+in the poem "The Exiles;"[6] also, the birthplace of Josiah Bartlett,
+first signer of the Declaration of Independence after Hancock, whose
+statue, given by Jacob R. Huntington, a public-spirited citizen of
+Amesbury, stands in Huntington Square; and near by is "The Captain's
+Well," dug by Valentine Bagley in pursuance of a vow, as told in
+Whittier's poem; also the Home for Aged Women, for which Whittier left
+by his will nearly $10,000. It is to a view of Newburyport as seen from
+Whittier Hill, a distance of five miles, that the opening lines of "The
+Preacher" refer:--
+
+    "Far down the vale, my friend and I
+      Beheld the old and quiet town;
+    The ghostly sails that out at sea
+    Flapped their white wings of mystery;
+    The beaches glimmering in the sun,
+    And the low wooded capes that run
+    Into the sea-mist north and south;
+    The sand-bluffs at the river's mouth;
+    The swinging chain-bridge, and, afar,
+    The foam line of the harbor-bar."
+
+The cemetery in which Whittier is buried can be reached by either the
+electric line from Merrimac, or the one from Newburyport--the latter
+approaching nearest the part in which is the Whittier lot. This lot is
+in the section reserved for the Society of Friends, and is surrounded
+by a well-kept hedge of arbor vitæ. Here is buried each member of the
+family commemorated in the poem "Snow-Bound," and also the niece of the
+poet, who was for twenty years a member of his household. There is a
+row of nine plain marble tablets, much alike, with Whittier's slightly
+the largest. At the corner where his brother is buried is a tall cedar,
+and at the foot of his own grave is another symmetrical tree of the
+same kind. Between him and his brother lie their father and mother,
+their two sisters, their uncle Moses and aunt Mercy. His niece,
+daughter of his brother, has a place by his side. Inclosed by the same
+hedge is the burial lot of his dearly-loved cousin, Joseph Cartland.
+For those who take note of dates it may be said that his father died in
+1830, and not, as stated on his headstone, one year later.
+
+[Illustration: WHITTIER LOT, UNION CEMETERY, AMESBURY]
+
+Po Hill, originally called Powow, because of the tradition that the
+Indians used to hold their powwows upon its summit, is three hundred
+and thirty-two feet high, and commands a view so extended that many
+visitors make the ascent. One of Whittier's early prose legends is of a
+bewitched Yankee whose runaway horse took him to the top of this hill
+into a midnight powwow of Indian ghosts. In describing the hill he
+says: "It is a landmark to the skippers of the coasting craft that sail
+up Newburyport harbor, and strikes the eye by its abrupt elevation and
+orbicular shape, the outlines being as regular as if struck off by the
+sweep of a compass." From it in a clear day may be seen Mount
+Washington, ninety-eight miles away; the Ossipee range; Passaconaway;
+Whiteface; Kearsarge in Warner; Monadnock; Wachusett; Agamenticus and
+Bonny Beag in Maine; the Isles of Shoals with White Island light; Boon
+Island in Maine; and nearer at hand Newburyport with its harbor and
+bay; Plum Island; Cape Ann; Salisbury and Hampton beaches; Boar's Head
+and Little Boar's Head; Crane Neck and many other of the beautiful
+hills of Newbury, Rowley, Ipswich, and Danvers. The view of Cape Ann as
+seen from Po Hill is referred to by Whittier at the opening of the poem
+"The Garrison of Cape Ann:"--
+
+    "From the hills of home forth looking, far beneath the tent-like span
+    Of the sky, I see the white gleam of the headland of Cape Ann."
+
+Down the south side of the Po flows the Powow River in a series of
+cascades, the finest of which are now hidden by the mills, or arched
+over by the main street of the village of Amesbury. The hill is
+celebrated in several of Whittier's poems, including "Abram Morrison,"
+"Miriam," and "Cobbler Keezar's Vision." The Powow, a little way above
+its plunge over the rocks where it gives power for the mills, flows in
+front of the Whittier home, and but the width of a block distant. The
+surface of its swift current is but a few feet below the level of
+Friend Street. Po Hill rises steeply from its left bank. The Powow is
+mentioned in the poem "The Fountain:"--
+
+    "Where the birch canoe had glided
+      Down the swift Powow,
+    Dark and gloomy bridges strided
+      Those clear waters now;
+    And where once the beaver swam,
+    Jarred the wheel and frowned the dam."
+
+
+[Illustration: THE FOUNTAIN, ON MUNDY HILL]
+
+"The Fountain" is a spring that may be found on the western side of
+Mundy Hill. The oak mentioned in this poem is gone, and a willow takes
+its place. The Rocky Hill meeting-house is well worth the attention of
+visitors, as a well-preserved specimen of the meeting-houses of the
+olden time. Its pulpit, pews, and galleries retain their original form
+as when built in 1785. It is situated on the easternmost of the fine
+circlet of hills that incloses the valley of the Powow. This hill is
+well named, for here the melting glaciers left their most abundant
+deposit of boulders. A trolley line from Amesbury to Salisbury Beach
+passes this venerable edifice.
+
+[Illustration: ROCKY HILL CHURCH, BUILT IN 1785]
+
+Salisbury Beach, now covered with summer cottages, will hardly be
+recognized as the place described by Whittier in his "Tent on the
+Beach." When that poem was written, not one of these hundreds of
+cottages was built, and those who encamped here brought tents. Hampton
+Beach is a continuation of Salisbury Beach beyond the state line into
+New Hampshire. It has given its name to one of the most notable of
+Whittier's poems, and several ballads refer to it. "The Wreck of
+Rivermouth" has for its scene the mouth of the Hampton River, which,
+winding down from the uplands across salt meadows, and dividing this
+beach, finds its outlet to the sea. At the northern end of the beach
+is the picturesque promontory of Boar's Head, and eastward are seen the
+Isles of Shoals, and in the further distance the blue disk of
+Agamenticus. Whittier describes the place with his usual exactness:--
+
+    "And fair are the sunny isles in view
+      East of the grisly Head of the Boar,
+    And Agamenticus lifts its blue
+      Disk of a cloud the woodlands o'er;
+    And southerly, when the tide is down,
+    'Twixt white sea-waves and sand-hills brown,
+    The beach-birds dance and the gray gulls wheel
+    Over a floor of burnished steel."
+
+[Illustration: INTERIOR OF ROCKY HILL CHURCH]
+
+Rev. J. C. Fletcher, in an article published in 1879, says that he was
+with Whittier at Salisbury Beach, in the summer of 1861, when he saw
+the remarkable mirage commemorated in these lines in "The Tent on the
+Beach:"--
+
+      "Sometimes, in calms of closing day,
+      They watched the spectral mirage play;
+    Saw low, far islands looming tall and nigh,
+    And ships, with upturned keels, sail like a sea the sky."
+
+[Illustration: MOUTH OF HAMPTON RIVER
+
+Scene of "The Wreck of Rivermouth"]
+
+Mr. Fletcher was spending several weeks that summer with his family in
+a tent on the beach. He says: "Here we were visited by friends from
+Newburyport and Amesbury. None were more welcome than Whittier and his
+sister, and two nieces, one of whom, Lizzie, as we called her, had the
+beautiful eyes--the grand features in both the poet and his sister.
+Those eyes of his sister Elizabeth are most touchingly alluded to by
+Whittier when he refers to his sister's childhood in the old Snow-bound
+homestead:--
+
+    "'Lifting her large, sweet, asking eyes,
+      Now bathed in the unfading green
+    And holy peace of Paradise.'
+
+"One day, late in the afternoon, I recall how Elizabeth was enjoying a
+cup of tea in the family tent, while Whittier and myself were seated
+upon a hillock of sand outside. It had been a peculiarly beautiful day,
+and as the sun began to decline, the calm sea was lit up with a dreamy
+grandeur wherein there seemed a mingling of rose-tint and color of
+pearls. All at once we noticed that the far-off Isles of Shoals, of
+which in clear days only the lighthouse could be seen, were lifted into
+the air, and the vessels out at sea were seen floating in the heavens.
+Whittier told me that he never before witnessed such a sight. We called
+to the friends in the tent to come and enjoy the scene with us.
+Elizabeth Whittier was then seeing from the shore the very island,
+reduplicated in the sky, where two years afterwards she met that fatal
+accident which, after months of suffering, terminated her existence."
+
+[Illustration: SALISBURY BEACH, BEFORE THE COTTAGES WERE BUILT
+
+Scene of "The Tent on the Beach"]
+
+Elizabeth fell upon the rocks at Appledore in August, 1863. It was not
+thought at the time that she was seriously injured, and perhaps Mr.
+Fletcher is wrong in attributing her death solely to this cause. For
+many years before and after the death of his sister, Mr. Whittier spent
+some days each summer at Appledore. It was at his insistence that Celia
+Thaxter undertook her charming book, "Among the Isles of Shoals."
+
+[Illustration: HAMPTON RIVER MARSHES]
+
+Other ballads of this region are "The Changeling," and "The New Wife
+and the Old." The ancient house which is the scene of the last named
+poem is still standing, and may be seen by passengers on the Boston and
+Maine road, near the Hampton station. It has a gambrel roof, and is on
+the left when the train is going westward. On the right as the train
+passes Hampton Falls station may be seen in the distance, shaded by
+magnificent elms, the house of Miss Gove, in which Whittier died. It
+was upon these broad meadows and the distant line of the beach that his
+eyes rested, when he took his last look upon the scenery he loved and
+has so faithfully pictured in his verse. The photographs here
+reproduced were taken by his grandnephew a few days before his death,
+and the last time he stood on the balcony where his form appears. The
+room in which he died opens upon this balcony. It was his cousin,
+Joseph Cartland, who happened to stand by his left side when the
+picture was taken. This house is worthy of notice aside from its
+connection with Whittier, as one of the finest specimens of colonial
+architecture, its rooms filled with the furniture and heirlooms of the
+ancestors of the present proprietor. A trolley line from Amesbury now
+passes the house.
+
+[Illustration: HOUSE OF MISS GOVE, HAMPTON FALLS]
+
+[Illustration: CHAMBER IN WHICH WHITTIER DIED]
+
+As a coincidence that was at the time considered singular, the
+superstition in regard to the matter of thirteen at table was recalled
+when Whittier dined for the last time with his friends. During the
+summer he had lodged at the house of Miss Gove, taking his meals with
+others of his party in a house adjoining. One evening all had taken
+their places at the table except Mr. Whittier. His niece noticed there
+were twelve seated, and without comment took her plate to a small table
+in a corner of the room. When her uncle came in, he said in a cheery
+way, "Why, Lizzie, what has thee been doing, that they put thee in the
+corner?" Some evasive reply was made, but probably Mr. Whittier guessed
+the reason, for he was well versed in such superstitions, and sometimes
+laughingly heeded them. In a few minutes, Mr. Wakeman, the Baptist
+clergyman of the village, just returned from his summer vacation, came
+in unexpectedly, and took the thirteenth seat that had just been
+vacated. Whittier's grandnephew, to again break the omen, took his
+plate over to the table in the corner with his mother. It was all done
+in a playful way, but the matter was recalled while we were at
+breakfast next morning. The news then came of the paralysis which had
+affected Mr. Whittier while dressing to join us. He never again came to
+the dining room. Another incident of the same evening was more
+impressive, and remains to this day inexplicable. After sitting for a
+while in the parlor conversing with friends, he took his candle to
+retire, and as he said "Goodnight" to his friends, and passed out of
+the door, an old clock (the clock over the desk) struck once! It had
+not been wound up for years, and as no one present had ever before
+heard it strike, it excited surprise--the more so as the hands were not
+in position for striking. It was an incident that had a marked effect
+upon a party little inclined to heed omens; and in many ways, without
+success, we tried to get the clock to strike once more.
+
+[Illustration: AMESBURY PUBLIC LIBRARY]
+
+A beautiful little lake in the northern part of Amesbury, formerly
+known as Kimball's Pond, is the scene of "The Maids of Attitash." Its
+present name was conferred by Whittier because huckleberries abound in
+this region, and Attitash is the Indian name for this berry. His poem
+pictures the maidens with "baskets berry-filled," watching
+
+            ... "in idle mood
+    The gleam and shade of lake and wood."
+
+In a letter to the editor of "The Atlantic" inclosing this ballad, he
+says of Attitash: "It is as pretty as St. Mary's Lake which Wordsworth
+sings, in fact a great deal prettier. The glimpse of the Pawtuckaway
+range of mountains in Nottingham seen across it is very fine, and it
+has noble groves of pines and maples and ash trees." A trolley line
+from Amesbury to Haverhill passes this lake; but this is not the line
+which passes the Whittier birthplace.
+
+Annually, in the month of May, the Quarterly Meeting of the Society of
+Friends is held at Amesbury, and during the fifty-six years of Mr.
+Whittier's residence in the village, this was an occasion on which he
+kept open house, and wherever he happened to be, he came home to enjoy
+the company of friends, giving up all other engagements. He could not
+be detained in Boston or Danvers, or wherever else he might be, when
+the time for this meeting approached. It was an annual event in which
+his mother and sister took much interest, and after they passed away,
+the custom was maintained with the same spirit of hospitality with
+which they had invested it, to the last year of his life.
+
+Among Mr. Whittier's neighbors was an aged pair, a brother and sister,
+whose simple, old-fashioned ways and quaint conversation he much
+enjoyed. He thought they worked harder than they had need to do, as the
+infirmities of age fell upon them, for they had accumulated a
+competency, and on one occasion he suggested that they leave for
+younger hands some of the labor to which they had been accustomed. But
+the sister said, "We must lay by something for our last sickness, and
+have enough left to bury us." Whittier replied, "Mary, did thee ever
+know any one in his last sickness to stick by the way for want of
+funds?" The beautiful public library of Amesbury was built with the
+money of this aged pair, whose will was made at the suggestion of
+Whittier. Part of the money Whittier left to hospitals and schools
+would have been given to this library, had he not known that it was
+provided for by his generous neighbors.
+
+[Illustration: WHITTIER AT THE AGE OF FORTY-NINE]
+
+In his poem "The Common Question," Whittier refers to a saying of his
+pet parrot, "Charlie," a bird that afforded him much amusement, and
+sometimes annoyance, by his tricks and manners. His long residence in
+this Quaker household had the effect to temper his vocabulary, and he
+almost forgot some phrases his ungodly captors had taught him. But
+there would be occasional relapses. He had the freedom of the house,
+for Whittier objected to having him caged. One Sunday morning, when
+people were passing on the way to meeting, Charlie had gained access to
+the roof, and mounted one of the chimneys. There he stood, dancing and
+using language he unfortunately had not quite forgotten, to the
+amazement of the church-goers! Whatever Quaker discipline he received
+on this occasion did not cure him of the chimney habit, but some time
+later he was effectually cured; for while dancing on this high perch he
+fell down one of the flues and was lost for some days. At last his
+stifled voice was heard in the parlor, in the wall over the mantel. A
+pole was let down the flue and he was rescued, but so sadly demoralized
+that he could only faintly whisper, "What does Charlie want?" He died
+from the effect of this accident, but we will not dismiss him without
+another story in which he figures: He had the bad habit of nipping at
+the leg of a person whose trousers happened to be hitched above the top
+of the boot. One day Mr. Whittier was being worn out by a prosy
+harangue from a visitor who sat in a rocking-chair, and swayed back and
+forth as he talked. As he rocked, Whittier noticed that his trousers
+were reaching the point of danger, and now at length he had something
+that interested him. Charlie was sidling up unseen by the orator. There
+was a little nip followed by a sharp exclamation, and the thread of the
+discourse was broken! The relieved poet now had the floor as an
+apologist for his discourteous parrot.
+
+At a time when Salmon P. Chase was in Lincoln's Cabinet, but was
+beginning to think of the possibility of supplanting him at the next
+presidential election, he visited Massachusetts, and called upon his
+old anti-slavery friend, Mr. Whittier. Chase told him among other
+things that he did not like Abraham Lincoln's stories. Whittier said,
+"But do they not always have an application, like the parables?" "Oh,
+yes," said Chase, "but they are not decent like the parables!"
+
+Henry Taylor was a village philosopher of Amesbury given to the
+discussion of high themes in a somewhat eccentric manner, and Whittier
+had a warm side for such odd characters. Once when Emerson was his
+guest, he invited Taylor to meet him, knowing that the Concord
+philosopher would be amused if not otherwise interested in his Amesbury
+brother. Taylor found him a good listener, and gave him the full
+benefit of his theories and imaginings. Next morning Whittier called on
+him to inquire what he thought of Emerson. "Oh," said he, "I find your
+friend a very intelligent man. He has adopted some of my ideas."
+
+[Illustration: THE WOOD GIANT, AT STURTEVANT'S, CENTRE HARBOR
+
+    "Alone, the level sun before;
+      Below, the lake's green islands;
+    Beyond, in misty distance dim,
+      The rugged Northern Highlands."]
+
+The likeness of Whittier on page 97 is from a daguerreotype taken in
+October, 1856, and has never before been published in any volume
+written by or about the poet. Mr. Thomas E. Boutelle, the artist who
+took this daguerreotype, is now living in Amesbury at the age of
+eighty-five. He tells me how he happened to get this picture,--a rather
+difficult feat, as it was hard to induce the poet to sit for his
+portrait. He had set up a daguerrean saloon in the little square near
+Whittier's house, and Whittier often came in for a social chat, but
+persistently refused to give a sitting. One day he came in with his
+younger brother Franklin, whose picture he wanted. When it was
+finished, Franklin said, "Now, Greenleaf, I want your picture." After
+much persuasion Greenleaf consented, and Mr. Boutelle showed him the
+plate before it was fully developed, with the remark that he thought he
+could do better if he might try again. By this bit of strategy he
+secured the extra daguerreotype here reproduced, but he took care not
+to show it in Amesbury, for fear Whittier would call it in. He took it
+to Exeter, N. H., and put it in a show-case at his door. His saloon was
+burned, and all he saved was this show-case and the daguerreotype,
+which many of the poet's old friends think to be his best likeness of
+that period.
+
+Several of Whittier's poems referring to New Hampshire scenery
+celebrate particular trees remarkable for age and size. For these
+giants of the primeval forest he ever had a loving admiration. The
+great elms that shade the house in which he died would no doubt have
+had tribute in verse if his life had been spared. He invited the
+attention of every visitor to them. The immense pine on the Sturtevant
+farm, near Centre Harbor, called out a magnificent tribute in his poem
+"The Wood Giant." Our engraving on page 99 gives some idea of "the
+Anakim of pines." There is a grove at Lee, N. H., on the estate of his
+dearly-loved cousins, the Cartlands, to which he refers in his poem "A
+Memorial:"--
+
+    "Green be those hillside pines forever,
+      And green the meadowy lowlands be,
+    And green the old memorial beeches,
+      Name-carven in the woods of Lee!"
+
+There is a "Whittier Elm" at West Ossipee, and indeed wherever he chose
+a summer resort, some wood giant still bears his name.
+
+[Illustration: THE CARTLAND HOUSE, NEWBURYPORT
+
+Where Whittier spent the last winter of his life. A century ago the
+residence of the father of Harriet Livermore.]
+
+Visitors to Whittier-Land will find an excursion to Oak Knoll, in
+Danvers, to be full of interest. Here the poet, after the marriage of
+his niece, spent a large part of each of the last fifteen years of his
+life in the family of his cousins, the Misses Johnson and Mrs. Woodman.
+Without giving up his residence in Amesbury, where his house was always
+kept open for him during these years by Hon. George W. Cate, he found
+in the beautiful seclusion of the fine estate at Oak Knoll a restful
+and congenial home. Many souvenirs of the poet are here treasured, and
+the historical associations of the place are worthy of note. Here lived
+the Rev. George Burroughs, who suffered death as a wizard more than two
+centuries ago. He was a man of immense strength of muscle, and his
+astonishing athletic feats were cited at his trial as evidence of his
+dealings with the Evil One. The well of his homestead is shown under
+the boughs of an immense elm, and the canopy now over it was the
+sounding-board of the pulpit of an ancient church of the parish so
+unenviably identified with the witchcraft delusion.
+
+Inquiries are sometimes made in regard to the places in Boston
+associated with the memory of Whittier. His first visit to the city was
+in his boyhood, when he came as the guest of Nathaniel Greene, a
+distant kinsman of his, who was editor of the "Statesman" and
+postmaster of Boston. Many of his earliest poems were published in the
+"Statesman" under assumed names, and until lately never recognized as
+his. Not one of these juvenile productions, of which I have happened
+upon many specimens, was ever collected. When he was editing the
+"Manufacturer," he boarded with the publisher of that paper, Rev. Mr.
+Collier, at No. 30 Federal Street. When visiting Boston in middle life,
+he felt most at home in the old Marlboro Hotel on Washington Street. He
+would often leave the hotel for a morning walk, and find a hearty
+welcome at the breakfast hour from his dear friends, Mr. and Mrs. James
+T. Fields, at No. 148 Charles Street. In later life, at the home of
+Governor Claflin, at No. 63 Mount Vernon Street, he was frequently an
+honored guest. It was here he first met Elizabeth Stuart Phelps, who
+gives this account of their meeting: "On this morning he came in across
+the thick carpet with that nervous but soft step which every one who
+ever saw him remembers. Straight as his own pine tree, high of stature,
+and lofty of mien, he moved like a flash of light or thought. The first
+impression which one received was of such eagerness to see his friends
+that his heart outran his feet. He seemed to suppose that he was
+receiving, not extending the benediction; and he offered the delicate
+tribute to his friend of allowing him to perceive the sense of debt. It
+would have been the subtlest flattery, had he not been the most honest
+and straightforward of men. We talked--how can I say of what? Or of
+what not? We talked till our heads ached and our throats were sore; and
+when we had finished we began again. I remember being surprised at his
+quick, almost boyish, sense of fun, and at the ease with which he rose
+from it into the atmosphere of the gravest, even the most solemn,
+discussion. He was a delightful converser, amusing, restful,
+stimulating, and inspiring at once." The winter of 1882-83 he spent at
+the Winthrop Hotel, on Bowdoin Street, where the Commonwealth Hotel now
+stands.
+
+[Illustration: WHITEFIELD'S CHURCH AND BIRTHPLACE OF GARRISON]
+
+A visit to Whittier-Land is incomplete if Old Newbury and Newburyport
+(originally one town) are left out of the itinerary. At the celebration
+of the two hundred and fiftieth anniversary of the settlement of
+Newbury, in 1885, a letter from Whittier was read in which he recites
+some of the reasons for his interest in the town. He says: "Although I
+can hardly call myself a son of the ancient town, my grandmother, Sarah
+Greenleaf of blessed memory, was its daughter, and I may therefore
+claim to be its grandson. Its genial and learned historian, Joshua
+Coffin, was my first school-teacher, and all my life I have lived in
+sight of its green hills, and in hearing of its Sabbath bells. Its
+history and legends are familiar to me.... The town took no part in the
+witchcraft horror, and got none of its old women and town charges
+hanged for witches. 'Goody' Morse had the spirit rappings in her house
+two hundred years earlier than the Fox girls did, and somewhat later a
+Newbury minister in wig and knee-buckles rode, Bible in hand, over to
+Hampton to lay a ghost who had materialized himself and was stamping up
+and down stairs in his military boots.... Whitefield set the example
+since followed by the Salvation Army, of preaching in its streets, and
+now lies buried under one of the churches with almost the honor of
+sainthood. William Lloyd Garrison was born in Newbury. The town must be
+regarded as the Alpha and Omega of the anti-slavery agitation."
+
+The grandmother to whom he refers was born in that part of the town
+nearest to his own birthplace. The outlet to Country Brook is nearly
+opposite the Greenleaf place, and Whittier's poem "The Home-Coming of
+the Bride" describes the crossing of the river and the bridal
+procession up the valley of the lesser stream, a part of which is known
+as Millvale because of the mills alluded to in the poem.
+
+The house in which Garrison was born is on School Street next to the
+Old South meeting-house, in which Whitefield preached, and under the
+pulpit of which his bones are deposited. Whitefield died in the house
+next to Garrison's birthplace. The ancient Coffin house, built in 1645,
+the home of Joshua Coffin, to whom Whittier addressed his poem "To My
+Old Schoolmaster," is on High Street, about half a mile below State
+Street. Whittier's cousins, Joseph and Gertrude Cartland, with whom he
+spent a large part of the last year of his life, lived at No. 244 High
+Street, at the corner of Broad.
+
+
+
+
+WHITTIER'S SENSE OF HUMOR
+
+
+
+
+III
+
+WHITTIER'S SENSE OF HUMOR
+
+
+Few men of his day, of equal prominence, have been so greatly
+misunderstood as Whittier by the public which knows him only by the
+writings he allowed to be published. These reveal him on the one hand
+as an earnest reformer bitterly denouncing the sins of a guilty people,
+and on the other as a prophet of God, with a message of cheer to those
+who turn them from their evil ways. While slavery existed, he lashed
+the institution with a whip of scorpions, and in later years, in poems
+of exquisite sweetness, he sang of "The Eternal Goodness," and brought
+words of consolation and hope to despairing souls. In the popular mind
+there has been built up for him a reputation for extreme seriousness
+and even severity. To be sure, some of the poems in his collected works
+have witty and even merry lines, but they usually have a serious
+purpose. The real fun and frolic of his nature were known only to those
+privileged with his intimacy. He delighted at times in throwing off his
+mantle of prophecy, and unbending even to jollity, in his home life and
+among friends. The presence of a stranger was a check to such
+exuberance. And it was not from any unsocial habit that he fell into
+this restraint. It was because he found that the unguarded words of a
+public man are often given a weight they were not intended to bear. If
+he unbent as one might whose every word has not come to be thought of
+value, it led to misunderstandings. In his home and among near friends
+he revealed a charming readiness to engage in lively and frolicsome
+conversation.
+
+Some stories illustrating his keen sense of humor, and specimens of
+verse written in rollicking vein for special occasions, which might not
+properly find place in a serious attempt at biography, I have thought
+might be allowed in such an informal work as this. Few of the lines I
+shall here give have ever appeared in any of his collected works, and
+some of them were never before in print. I am sure I do no wrong to his
+memory in thus bringing out a phase of his character which could not be
+fully treated in biography.
+
+I never heard him laugh aloud, but a merrier face and an eye that
+twinkled with livelier glee when thoroughly amused are not often seen.
+He would double up with mirth without uttering a sound,--his chuckle
+being visible instead of audible,--but this peculiar expression of
+jollity was irresistibly infectious. The faculty of seeing the humorous
+side of things he considered a blessing to be coveted, and he had a
+special pity for that class of philanthropists who cannot find a laugh
+in the midst of the miseries they would alleviate. A laugh rested him,
+and any teller of good stories, any writer of lively adventures,
+received a hearty greeting from him. He told Dickens that his "Pickwick
+Papers" had for years been his remedy for insomnia, and Sam Weller had
+helped him to many an hour of rested nerves. He loved and admired
+Longfellow and Lowell, and they were his most cherished friends, but
+the lively wit of Holmes had a special charm for him, and jolly times
+they had whenever they met. The witty talk and merry letters of Gail
+Hamilton, full as they were of a mad revelry of nonsense, were a great
+delight to him. It was not in praise of but in pity for Charles Sumner
+that he wrote:--
+
+    "No sense of humor dropped its oil
+      On the hard ways his purpose went;
+    Small play of fancy lightened toil;
+      He spake alone the thing he meant."
+
+As an illustration of his own way of speaking the thing he did _not_
+mean, just for fun, take the following: More than thirty years ago, a
+Division of the Sons of Temperance was organized in Amesbury, and his
+niece, one of his household, joined it. Her turn came to edit a paper
+for the Division, and she asked her uncle to contribute something. He
+had often complained in a laughing way in regard to the late hours of
+the club, and had threatened to lock her out. This accounts for the
+tone of the following remarkable contribution to temperance literature
+from one of the oldest friends of the cause:--
+
+
+THE DIVISION
+
+    "Dogs take it! Still the girls are out,"
+      Said Muggins, bedward groping,
+    "'T is twelve o'clock, or thereabout,
+      And all the doors are open!
+    I'll lock the doors another night,
+      And give to none admission;
+    Better to be abed and tight
+      Than sober at Division!"
+
+    Next night at ten o'clock, or more
+      Or less, by Muggins's guessing,
+    He went to bolt the outside door,
+      And lo! the key was missing.
+    He muttered, scratched his head, and quick
+      He came to this decision:
+    "Here 's something new in 'rithmetic,
+      Subtraction by Division!
+
+    "And then," said he, "it puzzles me,
+      I cannot get the right on 't,
+    Why temperance talk and whiskey spree
+      Alike should make a night on 't.
+    D 'ye give it up?" In Muggins's voice
+      Was something like derision--
+    "It 's just because between the boys
+      And girls there 's no Division!"
+
+[Illustration: BEARCAMP HOUSE, WEST OSSIPEE, N. H.]
+
+Whittier's favorite way of enjoying his annual vacation among the
+mountains was to go with a party of his relatives and neighbors, and
+take possession of a little inn at West Ossipee, known as the "Bearcamp
+House." Sturtevant's, at Centre Harbor, was another of his resorts. At
+these places his party filled nearly every room. It was made up largely
+of young people, full of frolic and love of adventure. The aged poet
+could not climb with them to the tops of the mountains; but he watched
+their going and coming with lively interest, and of an evening listened
+to their reports and laughed over the effervescence of their
+enthusiasm. Two young farmers of West Ossipee, brothers named Knox,
+acted as guides to Chocorua. They had some success as bear hunters, and
+supplied the inn with bear steaks. One day in September, 1876, the
+Knox brothers took a party of seven of Whittier's friends to the top of
+Chocorua, where they camped for the night among the traps that had been
+set for the bears. They heard the growling of the bears in the night,
+so the young ladies reported, with other blood-curdling incidents. Soon
+after the Knox brothers gave a husking at their barn,[7] and the whole
+Bearcamp party was invited. Whittier wrote a poem for the occasion, and
+induced Lucy Larcom to read it for him as from an unknown author,
+although he sat among the huskers. It was entitled:--
+
+
+HOW THEY CLIMBED CHOCORUA
+
+    Unto gallant deeds belong
+    Poet's rhyme and singer's song;
+    Nor for lack of pen or tongue
+    Should their praises be unsung,
+            Who climbed Chocorua!
+
+    O full long shall they remember
+    That wild nightfall of September,
+    When aweary of their tramp
+    They set up their canvas camp
+            In the hemlocks of Chocorua.
+
+    There the mountain winds were howling,
+    There the mountain bears were prowling,
+    And through rain showers falling drizzly
+    Glared upon them, grim and grisly,
+            The ghost of old Chocorua!
+
+    On the rocks with night mist wetted,
+    Keen his scalping knife he whetted,
+    For the ruddy firelight dancing
+    On the brown locks of Miss Lansing,
+            Tempted old Chocorua.
+
+    But he swore--(if ghosts can swear)--
+    "No, I cannot lift the hair
+    Of that pale face, tall and fair,
+    And for _her_ sake, I will spare
+            The sleepers on Chocorua."
+
+    Up they rose at blush of dawning,
+    Off they marched in gray of morning,
+    Following where the brothers Knox
+    Went like wild goats up the rocks
+            Of vast Chocorua.
+
+    Where the mountain shadow bald fell,
+    Merry faced went Addie Caldwell;
+    And Miss Ford, as gay of manner,
+    As if thrumming her piano,
+            Sang along Chocorua.
+
+    Light of foot, of kirtle scant,
+    Tripped brave Miss Sturtevant;
+    While as free as Sherman's bummer,
+    In the rations foraged Plummer,
+            On thy slope, Chocorua!
+
+    Panting, straining up the rock ridge,
+    How they followed Tip and Stockbridge,
+    Till at last, all sore with bruises,
+    Up they stood like the nine Muses,
+            On thy crown, Chocorua!
+
+    At their shout, so wild and rousing,
+    Every dun deer stopped his browsing,
+    And the black bear's small eyes glistened,
+    As with watery mouth he listened
+            To the climbers on Chocorua.
+
+    All the heavens were close above them,
+    But below were friends who loved them,--
+    And at thought of Bearcamp's worry,
+    Down they clambered in a hurry,--
+            Scurry down Chocorua.
+
+    Sore we miss the steaks and bear roast--
+    But withal for friends we care most;--
+    Give the brothers Knox three cheers,
+    Who to bring us back our _dears_,
+            Left bears on old Chocorua!
+
+[Illustration: GROUP AT STURTEVANT'S, CENTRE HARBOR
+
+Gertrude Cartland at Whittier's left, Mrs. Wade and Joseph Cartland at
+his right. Mrs. Caldwell, wife of Whittier's nephew, at his left
+shoulder.]
+
+The next day after the husking, Lucy Larcom and some others of the
+party prepared a burlesque literary exercise for the evening at the
+inn. She wrote a frolicsome poem, and others devised telegrams, etc.,
+all of which were to surprise Whittier, who was to know nothing of the
+affair until it came off. When the evening came, the venerable poet
+took his usual place next the tongs, and the rest of the party formed a
+semicircle around the great fireplace. On such occasions Whittier
+always insisted on taking charge of the fire, as he did in his own
+home. He even took upon himself the duty of filling the wood-box. No
+one in his presence dared to touch the tongs. By and by telegrams began
+to be brought in by the landlord from ridiculous people in ridiculous
+situations. Some purported to come from an old poet who had the
+misfortune to be caught by his coat-tails in one of the Knox bear-traps
+on Chocorua. It was suggested that he might be the author of the poem
+read at the husking. Lucy Larcom, who, by the way, was another of the
+writers popularly supposed to be very serious minded, but who really
+was known among her friends as full of fun, read a poem addressed to
+the man in the bear-trap, entitled:--
+
+
+TO THE UNKNOWN AND ABSENT AUTHOR OF "HOW THEY CLIMBED CHOCORUA"
+
+    O man in the trap, O thou poet-man!
+          What on airth are you doin'?--
+    We haste to the husking as fast as we can,
+         --But where 's Mr. Bruin?
+
+    We listen, we wait for his sweet howl in vain,
+          Like the far storm resounding.
+    Brothers Knox ne'er will see Mr. Bruin again,
+          Through the dim moonlight bounding.
+
+    For, thou man in the trap, O thou poet-y-man,
+          Scared to flight by thy singing,
+    Away through the mountainous forest he ran,
+          Like a hurricane winging.
+
+    Aye, the bear fled away, and his traps left behind,
+          For the use of the poet;
+    If an echo unearthly is borne on the wind--
+          'T is the man's--you may know it
+
+    By its tones of dismay, melancholy and loss,
+          O'er his coat-tails' sad ruin;
+    There 's a moan in the pine, and a howl o'er the moss--
+          But it 's he--'t is n't Bruin!
+
+    And the fire you see on the cliff in the air[8]
+          Is his eye-balls a-glarin'!
+    And the form that you call old Chocorua there
+          Is the poet up-rarin'!
+
+    And whenever the trees on the mountain-tops thrill
+          And the fierce winds they blow 'em,
+    In most awful pause every bear shall stand still--
+          He 's writing a poem!
+
+Whittier evidently enjoyed the fun, and after the rest had had their
+say, he remarked, "That old fellow in the bear-trap must be _in
+extremis_. He ought to make his will. Suppose we help him out!" He
+asked one of us to get pencil and paper and jot down the items of the
+will, each to make suggestions. It ended, of course, in his making the
+whole will himself, and doing it in verse. It is perhaps the only poem
+of his which he never wrote with his own hand. It came as rapidly as
+the scribe could take it. Every one at that fireside was remembered in
+this queer will--even the "boots" of the inn, the stage-driver, and
+others who were looking upon the sport from the doorway.
+
+
+THE LAST WILL AND TESTAMENT OF THE MAN IN THE BEAR-TRAP
+
+    Here I am at last a goner,
+    Held in hungry jaws like Jonah;
+      What the trap has left of me
+      Eaten by the bears will be.
+    So I make, on duty bent,
+    My last will and testament,
+      Giving to my Bearcamp friends
+      All my traps and odds and ends.
+    First, on Mr. Whittier,
+    That old bedstead I confer,
+      Whereupon, to vex his life,
+      Adam dreamed himself a wife.
+    I give Miss Ford the copyright
+    Of these verses I indite,
+      To be sung, when I am gone,
+      To the tune the cow died on.
+    On Miss Lansing I bestow
+    Tall Diana's hunting bow;
+      Where it is I cannot tell--
+      But if found 't will suit her well.
+    I bequeath to Mary Bailey
+    Yarn to knit a stocking daily.[9]
+      To Lizzie Pickard from my hat
+      A ribbon for her yellow cat.
+    And I give to Mr. Pickard
+    That old tallow dip that flickered,
+      Flowed and sputtered more or less
+      Over Franklin's printing press.
+    I give Belle Hume a wing
+    Of the bird that wouldn't sing;[10]
+      To Jettie for her dancing nights
+      Slippers dropped from Northern Lights.
+    And I give my very best
+    Beaver stove-pipe to Celeste--
+      Solely for her husband's wear,
+      On the day they're made a pair.
+    If a tear for me is shed,
+    And Miss Larcom's eyes are red--
+      Give her for her prompt relief
+      My last pocket-handkerchief![11]
+    My cottage at the Shoals I give
+    To all who at the Bearcamp live--
+      Provided that a steamer plays
+      Down that river in dog-days--
+    Linking daily heated highlands
+    With the cool sea-scented islands--
+      With Tip her engineer, her skipper
+      Peter Hines, the old stage-whipper.[12]
+    To Addie Caldwell, who has mended
+    My torn coat, and trousers rended,
+      I bequeath, in lack of payment,
+      All that 's left me of my raiment.
+    Having naught beside to spare,
+    To my good friend, Mrs. Ayer,
+      And to Mrs. Sturtevant,
+      My last lock of hair I grant.
+    I make Mr. Currier[13]
+    Of this will executor;
+      And I leave the debts to be
+      Reckoned as his legal fee.
+
+This is all of the will that was written that evening; but the next
+morning, at breakfast, I found under my plate a note-sheet, with some
+penciling on it. As I opened it, Mr. Whittier, with a quizzical look,
+said, "Thee will notice that the bear-trap man has added a codicil to
+his will." This is the codicil:--
+
+    And this pencil of a sick bard
+    I bequeath to Mr. Pickard;
+      Pledging him to write a very
+      Long and full obituary--
+    Showing by my sad example,
+    Useful life and virtues ample,
+      Wit and wisdom only tend
+      To bear-traps at one's latter end!
+
+I had to go back to my editorial desk in Portland that day, and
+immediately received there this note from Mr. Whittier:--
+
+"DEAR MR. P.,--Don't print in thy paper my foolish verses, which thee
+copied. They are hardly consistent with my years and 'eminent gravity,'
+and would make 'the heathen rage, and the people imagine vain things.'"
+
+I had no thought at the time of giving to the public this jolly side of
+Whittier's character, but do it now with little misgiving, as it is
+realized by every one that "a little nonsense now and then is relished
+by the wisest men." Whittier's capacity for serious work is well known,
+and his love of play never interfered with it. An earnest man without a
+sense of humor is a machine without a lubricant, worn out before its
+work is done. There can be no doubt that Whittier owed his length of
+days to his happy temperament.
+
+Here is a story of Whittier told by Alice Freeman Palmer: One evening
+they sat in Governor Claflin's library, in Boston, and he was taking
+his rest telling ghost stories. Mrs. Claflin had given strict orders
+that no visitor be allowed to intrude on Mr. Whittier when he was
+resting. Suddenly, at the crisis of a particularly interesting story,
+there was a commotion in the hall, and the rest of that story was not
+told. A lady had called to see the poet, and would not be denied. The
+domestic could not stop her, and she came straight into the library.
+She walked up to Whittier and seized both his hands, saying, "Mr.
+Whittier, this is the supreme moment of my life!" The poor man in his
+distress blushed like a school-girl, and shifted from one foot to the
+other; he managed to get his hands free, and put them behind him for
+further security. And what do you think he said? All he said was, "Is
+it?" Miss Freeman thought a third party in the way, and slipped out. As
+she was going upstairs, she heard a quick step behind her, and Whittier
+took her by the shoulder and shook her, saying as if angry, "Alice
+Freeman, I believe thee has been laughing at me!" She could not deny
+it. "What would thee do, Alice Freeman, if a man thee never saw should
+come up in that way to thee, take both hands, and tell thee it was the
+supreme moment of his life?"
+
+Probably the most seriously dangerous position in which he was ever
+placed was on the occasion of the looting and burning of Pennsylvania
+Hall, in the spring of 1838. His editorial office was in the building,
+and for two or three days the mob had been threatening its destruction
+before they accomplished it. It was not safe for him to go into the
+street except in disguise. And yet it was at this very time that he
+wrote the following humorous skit, never before in print. Theodore D.
+Weld had the year before made a contract of perpetual bachelorhood with
+Whittier, and yet he chose this troublous time to marry the eloquent
+South Carolina Quakeress, Angelina Grimké, who had freed her slaves and
+come North to rouse the people, and was creating a sensation on the
+lecture platform. Her burning words in Pennsylvania Hall had helped to
+make the mob furious. Whittier's humorous arraignment of his friend for
+breaking his promise of celibacy was written at this critical time, and
+he was obliged to disguise himself when he carried his epithalamium on
+the wedding night to the door of the bridegroom. He had been invited to
+assist at the wedding service, but as the bride was marrying "out of
+society," Whittier's orthodoxy compelled him to decline the invitation.
+
+    "Alack and alas! that a brother of mine,
+      A bachelor sworn on celibacy's altar,
+    Should leave me to watch by the desolate shrine,
+      And stoop his own neck to the enemy's halter!
+    Oh the treason of Benedict Arnold was better
+      Than the scoffing at Love, and then _sub rosa_ wooing;
+    This mocking at Beauty, yet wearing her fetter--
+      Alack and alas for such bachelor doing!
+
+    "Oh the weapons of Saul are the Philistine's prey!
+      Who shall stand when the heart of the champion fails him;
+    Who strive when the mighty his shield casts away,
+      And yields up his post when a woman assails him?
+    Alone and despairing thy brother remains
+      At the desolate shrine where we stood up together,
+    Half tempted to envy thy self-imposed chains,
+      And stoop his own neck for the noose of the tether!
+
+    "So firm and yet false! Thou mind'st me in sooth
+      Of St. Anthony's fall when the spirit of evil[14]
+
+          .     .     .     .     .
+
+      Filled the cell of his rest with imp, dragon and devil;
+    But the Saint never lifted his eyes from the Book
+      Till the tempter appeared in the guise of a woman;
+    And her voice was so sweet that he ventured one look,
+      And the devil rejoiced that the Saint had proved human!"
+
+In 1874, Gail Hamilton's niece was married at her house in Hamilton,
+and she sent a grotesque invitation to Whittier, asking him to come to
+her wedding, and prescribing a ridiculous costume he might wear. As a
+postscript she mentioned that it was her niece who was to be married.
+Whittier sent this reply, pretending not to have noticed the
+postscript, but finally waking up to the fact that she was not herself
+to be the bride:--
+
+
+                      AMESBURY, 12th mo. 29th, 1874.
+
+GAIL HAMILTON'S WEDDING
+
+    "Come to my wedding," the missive runs,
+      "Come hither and list to the holy vows;
+    If you miss this chance you will wait full long
+      To see another at Gail-a House!"
+
+    _Her_ wedding! What can the woman expect?
+      Does she think her friends can be jolly and glad?
+    Is it only the child who sighs and grieves
+      For the loss of something he never had?
+
+    Yet I say to myself, Is it strange that she
+      Should choose the way that we know is good
+    What right have we to grumble and whine
+      In a pitiful dog-in-the-manger mood?
+
+    What boots it to maunder with "if" and "perhaps,"
+      And "it might have been" when we know it could n't,
+    If she had been willing (a vain surmise),
+      It 's ten to one that Barkis would n't.
+
+    'T was pleasant to think (if it _was_ a dream)
+      That our loving homage her need supplied,
+    Humbler and sadder, if wiser, we walk
+      To feel her life from our own lives glide.
+
+    Let her go, God bless her! I fling for luck
+      My old shoe after her. Stay, what 's this?
+    Is it all a mistake? The letter reads,
+      "My _niece_, you must know, is the happy miss."
+
+    All 's right! To grind out a song of cheer
+      I set to the crank my ancient muse.
+    Will somebody kiss that bride for me?
+      I fling with my blessing, both boots and shoes!
+
+    To the lucky bridegroom I cry all hail!
+      He is sure of having, let come what may,
+    The sage advice of the wisest aunt
+      That ever her fair charge gave away.
+
+    The Hamilton bell, if bell there be,
+      Methinks is ringing its merriest peal;
+    And, shades of John Calvin! I seem to see
+      The hostess treading the wedding reel!
+
+    The years are many, the years are long,
+      My dreams are over, my songs are sung,
+    But, out of a heart that has not grown cold,
+      I bid God-speed to the fair and young.
+
+    All joy go with them from year to year;
+      Never by me shall their pledge be blamed
+    Of the perfect love that has cast out fear,
+      And the beautiful hope that is not ashamed!
+
+An aged Quaker friend from England, himself a bachelor, was once
+visiting Mr. Whittier, and was shown to his room by the poet, when the
+hour for retiring came. Soon after, he was heard calling to his host in
+an excited tone, "Thee has made a mistake, friend Whittier; there are
+female garments in my room!" Whittier replied soothingly, "Thee had
+better go to bed, Josiah; the female garments won't hurt thee."
+
+[Illustration: JOSIAH BARTLETT STATUE, HUNTINGTON SQUARE, AMESBURY]
+
+Here is a specimen of his frolicsome verse written after he was eighty
+years of age. It deals largely in personalities, was meant solely for
+the perusal of a few friends whom it pleasantly satirized, and was
+never before in print. When the bronze statue of Josiah Bartlett was to
+be erected in Amesbury, Whittier of course was called upon for the
+dedicatory ode, and he wrote "One of the Signers" for the occasion. The
+unveiling of the statue occurred on the Fourth of July, 1888, and as
+might have been anticipated, the poet could not be prevailed upon to be
+present. The day before the Fourth he went to Oak Knoll, "so as to keep
+in the quiet," he said. But his thoughts were on the celebration going
+on at Amesbury, and they took the form of drollery. He imagined himself
+occupying the seat on the platform which had been reserved for him, and
+these amusing verses were composed, the satirical allusions in which
+would be appreciated by his townspeople. The president of the day was
+Hon. E. Moody Boynton, a descendant of the signer, and the well-known
+inventor of the bicycle railway, the "lightning saw," etc. He has the
+reputation of having the limberest tongue in New England, as well as a
+brain most fertile in invention. The orator of the day was Hon. Robert
+T. Davis, then member of Congress, a former resident of Amesbury, and
+like Bartlett a physician. Jacob R. Huntington, to whose liberality
+the village is indebted for the statue, is a successful pioneer in the
+carriage-building industry of the place. It was cannily decided to give
+the statue to the State of Massachusetts, so as to have an inducement
+for the Governor to attend the dedication. Whittier's play on this fact
+is in the best vein of his drollery. The statue is of dark bronze, and
+this gave a chance for his amusing reference to the Kingston
+Democrats, whom he imagined as coming across the state line to attend
+the celebration. Dr. Bartlett was buried in their town. Professor J. W.
+Churchill, of Andover, one of the "heretics" of the Seminary, was to
+read the poem. The other persons named were eccentric characters well
+known in Amesbury:--
+
+
+MY DOUBLE
+
+    I 'm in Amesbury, not at Oak Knoll;
+      'T is my double here you see:
+    _I 'm_ sitting on the platform,
+      Where the programme places me--
+
+    Where the women nudge each other,
+      And point me out and say:
+    "That 's the man who makes the verses--
+      My! how old he is and gray!"
+
+    I hear the crackers popping,
+      I hear the bass drums throb;
+    I sit at Boynton's right hand,
+      And help him boss the job.
+
+    And like the great stone giant
+      Dug out of Cardiff mire,
+    We lift our man of metal,
+      And resurrect Josiah!
+
+    Around, the Hampshire Democrats
+      Stand looking glum and grim,--
+    "_That thing_ the Kingston doctor!
+      Do you call _that critter_ him?
+
+    "The pesky Black Republicans
+      Have gone and changed his figure;
+    We buried him a white man--
+      They've dug him up a nigger!"
+
+    I hear the wild winds rushing
+      From Boynton's limber jaws,
+    Swift as his railroad bicycle,
+      And buzzing like his saws!
+
+    But Hiram the wise is explaining
+      It 's only an old oration
+    Of Ginger-Pop Emmons, come down
+      By way of undulation!
+
+    Then Jacob, the vehicle-maker,
+      Comes forward to inquire
+    If Governor Ames will relieve the town
+      Of the care of old Josiah.
+
+    And the Governor says: "If Amesbury can't
+      Take care of its own town charge,
+    The State, I suppose, must do it,
+      And keep him from runnin' at large!"
+
+    Then rises the orator Robert,
+      Recounting with grave precision
+    The tale of the great Declaration,
+      And the claims of his brother physician.
+
+    Both doctors, and both Congressmen,
+      Tall and straight, you 'd scarce know which is
+    The live man, and which is the image,
+      Except by their trousers and breeches!
+
+    Then when the Andover "heretic"
+      Reads the rhymes I dared not utter,
+    I fancy Josiah is scowling,
+      And his bronze lips seem to mutter:
+
+    "Dry up! and stop your nonsense!
+      The Lord who in His mercies
+    Once saved me from the Tories,
+      Preserve me now from verses!"
+
+    Bad taste in the old Continental!
+      Whose knowledge of verse was at best
+    John Rogers' farewell to his wife and
+      Nine children and one at the breast!
+
+    He 's treating me worse than the Hessians
+      He shot in the Bennington scrimmage--
+    Have I outlived the newspaper critic,
+      To be scalped by a graven image!
+
+    Perhaps, after all, I deserve it,
+      Since I, who was born a Quaker,
+    Sit here an image worshiper,
+      Instead of an image breaker!
+
+In giving this picture of a poet at play, I have presented a side of
+Whittier's character heretofore overlooked, although to his intimate
+friends it was ever in evidence. I think there are few of the lovers of
+his verse who, if they are surprised by these revelations, will not
+also be pleased to become acquainted with one of his methods of
+recreation.
+
+       *       *       *       *       *
+
+When Edmund Gosse visited this country in 1884, he called upon Mr.
+Whittier, and this is the impression he received of his personality:
+"The peculiarity of his face rested in the extraordinarily large and
+luminous black eyes, set in black eyebrows, and fringed with thick
+black eyelashes curiously curved inward. This bar of vivid black across
+the countenance was startlingly contrasted with the bushy snow-white
+beard and hair, offering a sort of contradiction which was surprising
+and presently pleasing. He struck me as very gay and cheerful, in spite
+of his occasional references to the passage of time and the vanishing
+of beloved faces. He even laughed frequently and with a childlike
+suddenness, but without a sound. His face had none of the immobility so
+frequent with very aged persons; on the contrary, waves of mood were
+always sparkling across his features, and leaving nothing stationary
+there except the narrow, high, and strangely receding forehead. His
+language, very fluent and easy, had an agreeable touch of the soil, an
+occasional rustic note in its elegant colloquialism, that seemed very
+pleasant and appropriate, as if it linked him naturally with the long
+line of sturdy ancestors of whom he was the final blossoming. In
+connection with his poetry, I think it would be difficult to form in
+the imagination a figure more appropriate to Whittier's writings than
+Whittier himself proved to be in the flesh."
+
+
+
+
+WHITTIER'S UNCOLLECTED POEMS
+
+
+
+
+IV
+
+WHITTIER'S UNCOLLECTED POEMS
+
+
+Between the years 1826 and 1835, Mr. Whittier was writing literally
+hundreds of poems which he never permitted to be collected in any
+edition of his works; and not only so, but he preserved no copies of
+them, in later years destroying such as came to his notice. Some of
+these verses went the rounds of the newspaper press of the country,
+giving him a widespread reputation as a poet. But in much of his early
+work we see traces of ambition for fame, and a feeling that the world
+was treating him harshly. When the change came over his spirit to which
+reference has been made in a preceding chapter, sweetening all the
+springs of life, he lost interest in these early productions, some of
+which were giving him the fame that in his earlier years he so much
+craved. It was this radical change which no doubt influenced him in his
+later life to omit from his collected works most of the verses written
+previous to it. I have in my possession more than three hundred poems
+which I have found in the files of old newspapers, the great mass of
+which I would by no means reproduce, although I find nothing of which a
+young writer of that period need be ashamed. A few of these verses are
+given below as specimens of the work he saw fit to discard.
+
+The following poem, written when he was nineteen years of age, during
+his first term in the Haverhill Academy, shows in one or two stanzas
+the feeling that the world is giving him the cold shoulder:--
+
+
+I WOULD NOT LOSE THAT ROMANCE WILD
+
+    I would not lose that romance wild,
+      That high and gifted feeling--
+    The power that made me fancy's child,
+      The clime of song revealing,
+    For all the power, for all the gold,
+    That slaves to pride and avarice hold.
+
+    I know that there are those who deem
+      But lightly of the lyre;--
+    Who ne'er have felt one blissful beam
+      Of song-enkindled fire
+    Steal o'er their spirits, as the light
+    Of morning o'er the face of night.
+
+    Yet there 's a mystery in song--
+      A halo round the way
+    Of him who seeks the muses' throng--
+      An intellectual ray,
+    A source of pure, unfading joy--
+    A dream that earth can ne'er destroy.
+
+    And though the critic's scornful eye
+      Condemn his faltering lay,
+    And though with heartless apathy,
+      The cold world turn away--
+    And envy strive with secret aim,
+    To blast and dim his rising fame;
+
+    Yet fresh, amid the blast that brings
+      Such poison on its breath,
+    Above the wreck of meaner things,
+      His lyre's unfading wreath
+    Shall bloom, when those who scorned his lay
+    With name and power have passed away.
+
+    Come then, my lyre, although there be
+      No witchery in thy tone;
+    And though the lofty harmony
+      Which other bards have known,
+    Is not, and cannot e'er be mine,
+    To touch with power those chords of thine.
+
+    Yet thou canst tell, in humble strain,
+      The feelings of a heart,
+    Which, though not proud, would still disdain
+      To bear a meaner part,
+    Than that of bending at the shrine
+    Where their bright wreaths the muses twine.
+
+    Thou canst not give me wealth or fame;
+      Thou hast no power to shed
+    The halo of a deathless name
+      Around my last cold bed;
+    To other chords than thine belong
+    The breathings of immortal song.
+
+    Yet come, my lyre! some hearts may beat
+      Responsive to thy lay;
+    The tide of sympathy may meet
+      Thy master's lonely way;
+    And kindred souls from envy free
+    May listen to its minstrelsy.
+
+8th month, 1827.
+
+
+During the first months of Whittier's editorship of the "New England
+Review" at Hartford, his contributions of verse to that paper were
+numerous--in some cases three of his poems appearing in a single
+number, as in the issue of October 18, 1830. Two of these are signed
+with his initials, but the one here given has no signature. That it is
+his is made evident by the fact that all but one stanza of it appears
+in "Moll Pitcher," published two years later. It was probably because
+of the self-assertion of the concluding lines that the omitted stanza
+was canceled, and these lines reveal the ambition then stirring his
+young blood.
+
+
+NEW ENGLAND
+
+    Land of the forest and the rock--
+      Of dark blue lake and mighty river--
+    Of mountains reared aloft to mock
+    The storm's career--the lightning's shock,--
+      My own green land forever!--
+    Land of the beautiful and brave--
+    The freeman's home--the martyr's grave--
+    The nursery of giant men,
+    Whose deeds have linked with every glen,
+    And every hill and every stream,
+    The romance of some warrior dream!--
+    Oh never may a son of thine,
+    Where'er his wandering steps incline,
+    Forget the sky which bent above
+    His childhood like a dream of love--
+    The stream beneath the green hill flowing--
+    The broad-armed trees above it growing--
+    The clear breeze through the foliage blowing;--
+    Or hear unmoved the taunt of scorn
+    Breathed o'er the brave New England born;--
+    Or mark the stranger's Jaguar hand
+      Disturb the ashes of thy dead--
+    The buried glory of a land
+      Whose soil with noble blood is red,
+    And sanctified in every part,
+    Nor feel resentment like a brand
+    Unsheathing from his fiery heart!
+
+    Oh--greener hills may catch the sun
+      Beneath the glorious heaven of France;
+    And streams rejoicing as they run
+      Like life beneath the day-beam's glance,
+    May wander where the orange bough
+    With golden fruit is bending low;--
+    And there may bend a brighter sky
+    O'er green and classic Italy--
+    And pillared fane and ancient grave
+      Bear record of another time,
+    And over shaft and architrave
+      The green luxuriant ivy climb;--
+    And far towards the rising sun
+      The palm may shake its leaves on high,
+    Where flowers are opening one by one,
+      Like stars upon the twilight sky,
+    And breezes soft as sighs of love
+      Above the rich mimosa stray,
+    And through the Brahmin's sacred grove
+      A thousand bright-hued pinions play!--
+
+    Yet, unto thee, New England, still
+      Thy wandering sons shall stretch their arms,
+    And thy rude chart of rock and hill
+      Seem dearer than the land of palms!
+    Thy massy oak and mountain pine
+      More welcome than the banyan's shade,
+    And every free, blue stream of thine
+      Seem richer than the golden bed
+    Of Oriental waves, which glow
+    And sparkle with the wealth below!
+
+    Land of my fathers!--if my name,
+    Now humble, and unwed to fame,
+    Hereafter burn upon the lip,
+      As one of those which may not die,
+    Linked in eternal fellowship
+      With visions pure and strong and high--
+    If the wild dreams which quicken now
+    The throbbing pulse of heart and brow,
+    Hereafter take a real form
+    Like spectres changed to beings warm;
+    And over temples worn and gray
+      The star-like crown of glory shine,--
+    Thine be the bard's undying lay,
+      The murmur of his praise be thine!
+
+One of the poems in the same number which contained this spirited
+tribute to New England was the song given below, which was signed with
+the initials of the editor, else there might be some hesitation in
+assigning it to him, for there is scarcely anything like it to be found
+in his writings. It was evidently written for music, and some composer
+should undertake it.
+
+
+SONG
+
+    That vow of thine was full and deep
+      As man has ever spoken--
+    A vow within the heart to keep,
+      Unchangeable, unbroken.
+
+    'T was by the glory of the Sun,
+      And by the light of Even,
+    And by the Stars, that, one by one,
+      Are lighted up in Heaven!
+
+    That Even might forget its gold--
+      And Sunlight fade forever--
+    The constant Stars grow dim and cold,--
+      But thy affection--never!
+
+    And Earth might wear a changeful sign,
+      And fickleness the Sky--
+    Yet, even then, that love of thine
+      Might never change nor die.
+
+    The golden Sun is shining yet--
+      And at the fall of Even
+    There 's beauty in the warm Sunset,
+      And Stars are bright in Heaven.
+
+    No change is on the blessed Sky--
+      The quiet Earth has none--
+    Nature has still her constancy,
+      And _Thou_ art changed alone!
+
+The "Review" for September 13, 1830, has a poem of Whittier's prefaced
+by a curious story about Lord Byron:--
+
+_The Spectre._--There is a story going the rounds of our periodicals
+that a Miss G., of respectable family, young and very beautiful,
+attended Lord Byron for nearly a year in the habit of a page. Love,
+desperate and all-engrossing, seems to have been the cause of her
+singular conduct. Neglected at last by the man for whom she had
+forsaken all that woman holds dear, she resolved upon self-destruction,
+and provided herself with poison. Her designs were discovered by Lord
+Byron, who changed the poison for a sleeping potion. Miss G., with that
+delicate feeling of affection which had ever distinguished her
+intercourse with Byron, stole privately away to the funeral vault of
+the Byrons, and fastened the entrance, resolving to spare her lover
+the dreadful knowledge of her fate. She there swallowed the supposed
+poison--and probably died of starvation! She was found dead soon after.
+Lord Byron never adverted to this subject without a thrill of horror.
+The following from his private journal may, perhaps, have some
+connection with it:--
+
+"I awoke from a dream--well! and have not others dreamed?--such a
+dream! I wish the dead would rest forever. Ugh! how my blood
+chilled--and I could not wake--and--and--
+
+                                   "Shadows to-night
+    Have struck more terror to the soul of Richard
+    Than could the substance of ten thousand--
+    Armed all in proof--
+
+"I do not like this dream--I hate its foregone conclusion. And am I to
+be shaken by shadows? Ay, when they remind us of--no matter--but if I
+dream again I will try whether all sleep has the like
+visions."--Moore's "Byron," page 324.
+
+      She came to me last night--
+    The floor gave back no tread,
+    She stood by me in the wan moonlight--
+    In the white robes of the dead--
+    Pale--pale, and very mournfully
+    She bent her light form over me--
+    I heard no sound--I felt no breath
+    Breathe o'er me from that face of death;
+    Its dark eyes rested on my own,
+    Rayless and cold as eyes of stone;
+    Yet in their fixed, unchanging gaze,
+    Something which told of other days--
+    A sadness in their quiet glare,
+    As if Love's smile were frozen there,
+    Came o'er me with an icy thrill--
+    O God! I feel its presence still!
+    And fearfully and dimly
+    The pale cold vision passed,
+    Yet those dark eyes were fixed on me
+    In sadness to the last.
+    I struggled--and my breath came back,
+    As to the victim on the rack,
+    Amid the pause of mortal pain
+    Life steals to suffer once again!
+    Was it a dream? I looked around,
+    The moonlight through the lattice shone;
+    The same pale glow that dimly crowned
+    The forehead of the spectral one!
+    And then I knew she had been there--
+    Not in her breathing loveliness,
+    But as the grave's lone sleepers are,
+    Silent and cold and passionless!
+    A weary thought--a fearful thought--
+    Within the secret heart to keep:
+    Would that the past might be forgot--
+    Would that the dead might sleep!
+
+These are the concluding lines of a long poem written in 1829, while he
+was editing the "American Manufacturer." The poem as a whole was never
+in print; but these lines of it I find in the "Essex Gazette" of August
+22, 1829, from which paper they were copied, as were most of his
+productions of that period, by the newspapers of the country. They were
+never in any collection of his works:--
+
+
+A FRAGMENT
+
+    Lady, farewell! I know thy heart
+    Has angel strength to soar above
+    The cold reserve--the studied art
+    That mock the glowing wings of love.
+    Its thoughts are purer than the pearl
+    That slumbers where the wave is driven,
+    Yet freer than the winds that furl
+    The banners of the clouded heaven.
+    And thou hast been the brightest star
+    That shone along my weary way--
+    Brighter than rainbow visions are,
+    A changeless and enduring ray.
+    Nor will my memory lightly fade
+    From thy pure dreams, high-thoughted girl;--
+    The ocean may forget what made
+    Its blue expanse of waters curl,
+    When the strong winds have passed the sky;
+    Earth in its beauty may forget
+    The recent cloud that floated by;
+    The glories of the last sunset--
+    But not from thy unchanging mind
+    Will fade the dreams of other years,
+    And love will linger far behind,
+    In memory's resting place of tears!
+
+Many of Whittier's early discarded verses are of a rather gruesome
+sort, but more are inspired by contemplation of sublime themes, like
+this apostrophe to "Eternity," which was published in the "New England
+Review" in 1831:--
+
+
+ETERNITY
+
+    Boundless eternity! the wingéd sands
+      That mark the silent lapse of flitting time
+    Are not for thee; thine awful empire stands
+      From age to age, unchangeable, sublime;
+      Thy domes are spread where thought can never climb,
+    In clouds and darkness where vast pillars rest.
+      I may not fathom thee: 't would seem a crime
+    Thy being of its mystery to divest
+    Or boldly lift thine awful veil with hands unblest.
+
+    Thy ruins are the wrecks of systems; suns
+      Blaze a brief space of age, and are not;
+    Worlds crumble and decay, creation runs
+      To waste--then perishes and is forgot;
+      Yet thou, all changeless, heedest not the blot.
+    Heaven speaks once more in thunder; empty space
+      Trembles and wakes; new worlds in ether float,
+    Teeming with new creative life, and trace
+    Their mighty circles, which others shall displace.
+
+    Thine age is youth, thy youth is hoary age,
+      Ever beginning, never ending, thou
+    Bearest inscribed upon thy ample page,
+      Yesterday, forever, but as now
+      Thou art, thou hast been, shall be: though
+    I feel myself immortal, when on thee
+      I muse, I shrink to nothingness, and bow
+    Myself before thee, dread Eternity,
+    With God coeval, coexisting, still to be.
+
+    I go with thee till time shall be no more,
+      I stand with thee on Time's remotest age,
+    Ten thousand years, ten thousand times told o'er;
+      Still, still with thee my onward course I urge;
+      And now no longer hear the surge
+    Of Time's light billows breaking on the shore
+      Of distant earth; no more the solemn dirge--
+    Requiem of worlds, when such are numbered o'er--
+    Steals by: still thou art on forever more.
+
+    From that dim distance I turn to gaze
+      With fondly searching glance, upon the spot
+    Of brief existence, when I met the blaze
+      Of morning, bursting on my humble cot,
+      And gladness whispered of my happy lot;
+    And now 't is dwindled to a point--a speck--
+      And now 't is nothing, and my eye may not
+    Longer distinguish it amid the wreck
+    Of worlds in ruins, crushed at the Almighty's beck.
+
+    Time--what is time to thee? a passing thought
+      To twice ten thousand ages--a faint spark
+    To twice ten thousand suns; a fibre wrought
+      Into the web of infinite--a cork
+      Balanced against a world: we hardly mark
+    Its being--even its name hath ceased to be;
+      Thy wave hath swept it from us, thy dark
+    Mantle of years, in dim obscurity
+    Hath shrouded it around: Time--what is Time to thee!
+
+In 1832 a living ichneumon was brought to Haverhill, and was on
+exhibition at Frinksborough, a section of Haverhill now known as "the
+borough," on the bank of the river above the railroad bridge. Three
+young ladies of Haverhill went to see it, escorted by Mr. Whittier.
+They found that the animal had succumbed to the New England climate,
+and had just been buried. One of the ladies, Harriet Minot, afterward
+Mrs. Pitman, a life-long friend of the poet, suggested that he should
+write an elegy, and these are the lines he produced:--
+
+
+THE DEAD ICHNEUMON
+
+    Stranger! they have made thy grave
+      By the darkly flowing river;
+    But the washing of its wave
+      Shall disturb thee never!
+    Nor its autumn tides which run
+      Turbid to the rising sun,
+    Nor the harsh and hollow thunder,
+    When its fetters burst asunder,
+    And its winter ice is sweeping,
+    Downward to the ocean's keeping.
+
+    Sleeper! thou canst rest as calm
+      As beside thine own dark stream,
+    In the shadow of the palm,
+      Or the white sand gleam!
+    Though thy grave be never hid
+    By the o'ershadowing pyramid,
+    Frowning o'er the desert sand,
+    Like no work of mortal hand,
+    Telling aye the same proud story
+    Of the old Egyptian glory!
+
+    Wand'rer! would that we might know
+      Something of thy early time--
+    Something of thy weal or woe
+      In thine own far clime!
+    If thy step hath fallen where
+    Those of Cleopatra were,
+    When the Roman cast his crown
+    At a woman's footstool down,
+    Deeming glory's sunshine dim
+    To the smile which welcomed him.
+
+    If beside the reedy Nile
+      Thou hast ever held thy way,
+    Where the embryo crocodile
+      In the damp sedge lay;
+    When the river monster's eye
+    Kindled at thy passing by,
+    And the pliant reeds were bending
+    Where his blackened form was wending,
+    And the basking serpent started
+    Wildly when thy light form darted.
+
+    Thou hast seen the desert steed
+      Mounted by his Arab chief,
+    Passing like some dream of speed,
+      Wonderful and brief!
+    Where the palm-tree's shadows lurk,
+    Thou hast seen the turbaned Turk,
+    Resting in voluptuous pride
+    With his harem at his side,
+    Veiléd victims of his will,
+    Scorned and lost, yet lovely still.
+
+    And the samiel hath gone
+      O'er thee like a demon's breath,
+    Marking victims one by one
+      For its master--Death.
+    And the mirage thou hast seen
+    Glittering in the sunny sheen,
+    Like some lake in sunlight sleeping,
+    Where the desert wind was sweeping,
+    And the sandy column gliding,
+    Like some giant onward striding.
+
+    Once the dwellers of thy home
+      Blessed the path thy race had trod,
+    Kneeling in the temple dome
+      To a reptile god;
+    Where the shrine of Isis shone
+    Through the veil before its throne,
+    And the priest with fixéd eyes
+    Watched his human sacrifice;
+    And the priestess knelt in prayer,
+    Like some dream of beauty there.
+
+    Thou, unhonored and unknown,
+      Wand'rer o'er the mighty sea!
+    None for thee have reverence shown--
+      None have worshipped thee!
+    Here in vulgar Yankee land,
+    Thou hast passed from hand to hand,
+    And in Frinksborough found a home,
+    Where no change can ever come!
+    What thy closing hours befell
+    None may ask, and none may tell.
+
+    Who hath mourned above thy grave?
+      None--except thy ancient nurse.
+    Well she may--thy being gave
+      Coppers to her purse!
+    Who hath questioned her of thee?
+    None, alas! save maidens three,
+    Here to view thee while in being,
+    Yankee curious, paid for seeing,
+    And would gratis view once more
+    That for which they paid before.
+
+    Yet thy quiet rest may be
+      Envied by the human kind,
+    Who are showing off like thee,
+      To the careless mind,
+    Gifts which torture while they flow,
+    Thoughts which madden while they glow,
+    Pouring out the heart's deep wealth,
+    Proffering quiet, ease, and health,
+    For the fame which comes to them
+    Blended with their requiem!
+
+The following poem, which I have never seen in print, I find in a
+manuscript collection of Whittier's early poems, in the possession of
+his cousin, Ann Wendell, of Philadelphia. It is a political curiosity,
+being a reminiscence of the excitement caused by the mystery of the
+disappearance of William Morgan, in the vicinity of Niagara Falls, in
+1826. It was written in 1830, three years before Whittier became
+especially active in the anti-slavery cause. He was then working in the
+interest of Henry Clay as against Jackson, and the Whigs had adopted
+some of the watchwords of the Anti-Masonic party:--
+
+
+THE GRAVE OF MORGAN
+
+    Wild torrent of the lakes! fling out
+      Thy mighty wave to breeze and sun,
+    And let the rainbow curve above
+      The foldings of thy clouds of dun.
+    Uplift thy earthquake voice, and pour
+    Its thunder to the reeling shore,
+    Till caverned cliff and hanging wood
+    Roll back the echo of thy flood,
+    For there is one who slumbers now
+    Beneath thy bow-encircled brow,
+    Whose spirit hath a voice and sign
+    More strong, more terrible than thine.
+
+    A million hearts have heard that cry
+    Ring upward to the very sky;
+    It thunders still--it cannot sleep,
+    But louder than the troubled deep,
+    When the fierce spirit of the air
+    Hath made his arm of vengeance bare,
+    And wave to wave is calling loud
+    Beneath the veiling thunder-cloud;
+    That potent voice is sounding still--
+    The voice of unrequited ill.
+
+    Dark cataract of the lakes! thy name
+    Unholy deeds have linked to fame.
+    High soars to heaven thy giant head,
+      Even as a monument to him
+    Whose cold unheeded form is laid
+      Down, down amid thy caverns dim.
+    His requiem the fearful tone
+    Of waters falling from their throne
+    In the mid air, his burial shroud
+    The wreathings of thy torrent cloud,
+    His blazonry the rainbow thrown
+    Superbly round thy brow of stone.
+
+    Aye, raise thy voice--the sterner one
+    Which tells of crime in darkness done,
+    Groans upward from thy prison gloom
+    Like voices from the thunder's home.
+    And men have heard it, and the might
+      Of freemen rising from their thrall
+    Shall drag their fetters into light,
+      And spurn and trample on them all.
+    And vengeance long--too long delayed--
+      Shall rouse to wrath the souls of men,
+    And freedom raise her holy head
+      Above the fallen tyrant then.
+
+This poem, which was published in "The Haverhill Gazette" in 1829, was
+copied in many papers of that time, but was never in any collection of
+its author's works:--
+
+
+THE THUNDER SPIRIT
+
+    Dweller of the unpillared air,
+      Marshalling the storm to war,
+    Heralding its presence where
+      Rolls along thy cloudy car!
+    Thou that speakest from on high,
+      Like an earthquake's bursting forth,
+    Sounding through the veiléd sky
+      As an angel's trumpet doth.
+
+    Bending from thy dark dominion
+      Like a fierce, revengeful king,
+    Blasting with thy fiery pinion
+      Every high and holy thing;
+    Smitten from their mountain prison
+      Thou hast bid the streams go free,
+    And the ruin's smoke has risen,
+      Like a sacrifice to thee!
+
+          .     .     .     .     .
+
+    Monarch of each cloudy form,
+      Gathered on the blue of heaven,
+    When the trumpet of the storm
+      To thy lip of flame is given!
+    In the wave and in the breeze,
+      In the shadow and the sun,
+    God hath many languages,
+      And thy mighty voice is one!
+
+Here is a poem of Whittier's that will remind every reader of the hymn
+"The Worship of Nature," which first appeared without a title in the
+"Tent on the Beach." And yet there is no line in it, and scarcely a
+phrase, which was used in this last named poem. I find it in the "New
+England Review," of Hartford, under date of January 24, 1831. It would
+seem that "The Worship of Nature" was a favorite theme of his, for a
+still earlier treatment of it I have found in the "Haverhill Gazette"
+of October 5, 1827, written before the poet was twenty years of age. It
+is a curious fact that while in the version of 1827 there are a few
+lines and phrases which were adopted forty years afterward, the lines
+given here are none of them copied in the final revision of the poem.
+
+
+THE WORSHIP OF NATURE
+
+                                  "The air
+      Is glorious with the spirit-march
+    Of messengers of prayer."
+
+    There is a solemn hymn goes up
+      From Nature to the Lord above,
+    And offerings from her incense-cup
+      Are poured in gratitude and love;
+    And from each flower that lifts its eye
+      In modest silence in the shade
+    To the strong woods that kiss the sky
+      A thankful song of praise is made.
+
+    There is no solitude on earth--
+      "In every leaf there is a tongue"--
+    In every glen a voice of mirth--
+      From every hill a hymn is sung;
+    And every wild and hidden dell,
+      Where human footsteps never trod,
+    Is wafting songs of joy, which tell
+      The praises of their maker--God.
+
+    Each mountain gives an altar birth,
+      And has a shrine to worship given;
+    Each breeze which rises from the earth
+      Is loaded with a song of Heaven;
+    Each wave that leaps along the main
+      Sends solemn music on the air,
+    And winds which sweep o'er ocean's plain
+      Bear off their voice of grateful prayer.
+
+    When Night's dark wings are slowly furled
+      And clouds roll off the orient sky,
+    And sunlight bursts upon the world,
+      Like angels' pinions flashing by,
+    A matin hymn unheard will rise
+      From every flower and hill and tree,
+    And songs of joy float up the skies,
+      Like holy anthems from the sea.
+
+    When sunlight dies, and shadows fall,
+      And twilight plumes her rosy wing,
+    Devotion's breath lifts Music's pall,
+      And silvery voices seem to sing.
+    And when the earth falls soft to rest,
+      And young wind's pinions seem to tire,
+    Then the pure streams upon its breast
+      Join their glad sounds with Nature's lyre.
+
+    And when the sky that bends above
+      Is lighted up with spirit fires,
+    A gladdening song of praise and love
+      Is pealing from the sky-tuned lyres;
+    And every star that throws its light
+      From off Creation's bending brow,
+    Is offering on the shrine of Night
+      The same unchanging subject-vow.
+
+    Thus Earth 's a temple vast and fair,
+      Filled with the glorious works of love
+    When earth and sky and sea and air
+      Join in the praise of God above;
+    And still through countless coming years
+      Unwearied songs of praise shall roll
+    On plumes of love to Him who hears
+      The softest strain in Music's soul.
+
+There was a remarkable display of the aurora borealis in January, 1837,
+and this poem commemorates the phenomenon:--
+
+
+THE NORTHERN LIGHTS
+
+    A light is troubling heaven! A strange dull glow
+    Hangs like a half-quenched veil of fire between
+    The blue sky and the earth; and the shorn stars
+    Gleam faint and sickly through it. Day hath left
+    No token of its parting, and the blush
+    With which it welcomed the embrace of Night
+    Has faded from the blue cheek of the West;
+    Yet from the solemn darkness of the North,
+    Stretched o'er the "empty place" by God's own hand,
+    Trembles and waves that curtain of pale fire,--
+    Tingeing with baleful and unnatural hues
+    The winter snows beneath. It is as if
+    Nature's last curse--the fearful plague of fire--
+    Were working in the elements, and the skies
+    Even as a scroll consuming.
+
+                                        Lo, a change!
+    The fiery wonder sinks, and all along
+    A dark deep crimson rests--a sea of blood,
+    Untroubled by a wave. And over all
+    Bendeth a luminous arch of pale, pure white,
+    Clearly contrasted with the blue above,
+    And the dark red beneath it. Glorious!
+    How like a pathway for the Shining Ones,
+    The pure and beautiful intelligences
+    Who minister in Heaven, and offer up
+    Their praise as incense, or like that which rose
+    Before the Pilgrim prophet, when the tread
+    Of the most holy angels brightened it,
+    And in his dream the haunted sleeper saw
+    The ascending and descending of the blest!
+
+    And yet another change! O'er half the sky
+    A long bright flame is trembling, like the sword
+    Of the great angel of the guarded gate
+    Of Paradise, when all the holy streams
+    And beautiful bowers of Eden-land blushed red
+    Beneath its awful wavering, and the eyes
+    Of the outcasts quailed before its glare,
+    As from the immediate questioning of God.
+
+    And men are gazing at these "signs in heaven,"
+    With most unwonted earnestness, and fair
+    And beautiful brows are reddening in the light
+    Of this strange vision of the upper air:
+    Even as the dwellers of Jerusalem
+    Beleaguered by the Romans--when the skies
+    Of Palestine were thronged with fiery shapes,
+    And from Antonia's tower the mailed Jew
+    Saw his own image pictured in the air,
+    Contending with the heathen; and the priest
+    Beside the temple's altar veiled his face
+    From that fire-written language of the sky.
+
+    Oh God of mystery! these fires are thine!
+    Thy breath hath kindled them, and there they burn
+    Amid the permanent glory of Thy heavens,
+    That earliest revelation written out
+    In starry language, visible to all,
+    Lifting unto Thyself the heavy eyes
+    Of the down-looking spirits of the earth!
+    The Indian, leaning on his hunting-bow,
+    Where the ice-mountains hem the frozen pole,
+    And the hoar architect of winter piles
+    With tireless hand his snowy pyramids,
+    Looks upward in deep awe,--while all around
+    The eternal ices kindle with the hues
+    Which tremble on their gleaming pinnacles
+    And sharp cold ridges of enduring frost,--
+    And points his child to the Great Spirit's fire.
+
+    Alas for us who boast of deeper lore,
+    If in the maze of our vague theories,
+    Our speculations, and our restless aim
+    To search the secret, and familiarize
+    The awful things of nature, we forget
+    To own Thy presence in Thy mysteries!
+
+This imitation of "The Old Oaken Bucket" was written in 1826, when
+Whittier was in his nineteenth year, and except a single stanza, no
+part of it was ever before in print. The willow the young poet had in
+mind was on the bank of Country Brook, near Country Bridge, and also
+near the site of Thomas Whittier's log house. Mr. Whittier once pointed
+out this spot to me as one in which he delighted in his youth. On a
+grassy bank, almost encircled by a bend in the stream, stood, and
+perhaps still stands, just such a "storm-battered, water-washed willow"
+as is here described:--
+
+
+THE WILLOW
+
+    Oh, dear to my heart are the scenes which delighted
+    My fancy in moments I ne'er can recall,
+    When each happy hour new pleasures invited,
+    And hope pictured visions more lovely than all.
+    When I gazed with a light heart transported and glowing
+    On the forest-crowned hill, and the rivulet's tide,
+    O'ershaded with tall grass, and rapidly flowing
+    Around the lone willow that stood by its side--
+    The storm-battered willow, the ivy-bound willow, the water-washed
+          willow, that grew by its side.
+
+    Dear scenes of past years, when the objects around me
+    Seemed forms to awaken the transports of joy;
+    Ere yet the dull cares of experience had found me,
+    The dearly-loved visions of youth to destroy,--
+    Ye seem to awaken, whene'er I discover
+    The grass-shadowed rivulet rapidly glide,
+    The green verdant meads of the vale wandering over
+    And laving the willows that stand by its side--
+    The storm-battered willow, the ivy-bound willow, the water-washed
+          willow, that stands by its side;--
+
+    How oft 'neath the shade of that wide-spreading willow
+    I have laid myself down from anxiety free,
+    Reclining my head on the green grassy pillow,
+    That waved round the roots of that dearly-loved tree;
+    Where swift from the far distant uplands descending,
+    In the bright sunbeam sparkling, the rivulet's tide
+    With murmuring echoes came gracefully wending
+    Its course round the willow that stood by its side--
+    The storm-battered willow, the ivy-bound willow, the water-washed
+          willow that stood by its side.
+
+    Haunts of my childhood, that used to awaken
+    Emotions of joy in my infantile breast,
+    Ere yet the fond pleasures of youth had forsaken
+    My bosom, and all the bright dreams you impressed
+    On my memory had faded, ye give not the feeling
+    Of joy that ye did, when I gazed on the tide,
+    As gracefully winding, its currents came stealing
+    Around the lone willow that stood by its side--
+    The storm-battered willow, the ivy-bound willow, the water-washed
+          willow, that stood by its side.
+
+This is a fragment of a poem written in the album of a cousin in
+Philadelphia, in 1838. It was never before in print:--
+
+
+THE USES OF SORROW
+
+    It may be that tears at whiles
+    Should take the place of folly's smiles,
+    When 'neath some Heaven-directed blow,
+    Like those of Horeb's rock, they flow;
+    For sorrows are in mercy given
+    To fit the chastened soul for Heaven;
+    Prompting with woe and weariness
+    Our yearning for that better sky,
+    Which, as the shadows close on this,
+    Grows brighter to the longing eye.
+    For each unwelcome blow may break,
+    Perchance, some chain which binds us here;
+    And clouds around the heart may make
+    The vision of our faith more clear;
+    As through the shadowy veil of even
+    The eye looks farthest into Heaven,
+    On gleams of star, and depths of blue,
+    The fervid sunshine never knew!
+
+In the summer of 1856, Charles A. Dana, then one of the editors of the
+New York "Tribune," wrote to Whittier, calling upon him for campaign
+songs for Fremont. He said: "A powerful means of exciting and
+maintaining the spirit of freedom in the coming decisive contest must
+be songs. If we are to conquer, as I trust in God we are, a great deal
+must be done by that genial and inspiring stimulant." Whittier
+responded with several songs sung during the campaign for free Kansas,
+but the following lines for some reason he desired should appear
+without his name, either in the "National Era," in which they first
+appeared, August 14, 1856, or with the music to which they were set. A
+recently discovered letter, written by him to a friend in Philadelphia
+who was intrusted to set the song to music, avows its authorship, and
+also credits to his sister Elizabeth another song, "Fremont's Ride,"
+published in the same number of the "Era." As the brother probably had
+some hand in the composition of this last-mentioned piece, it is given
+here. This is Whittier's song:--
+
+
+WE 'RE FREE
+
+    The robber o'er the prairie stalks
+      And calls the land his own,
+    And he who talks as Slavery talks
+      Is free to talk alone.
+            But tell the knaves we are not slaves,
+              And tell them slaves we ne'er will be;
+            Come weal or woe, the world shall know.
+              We 're free, we 're free, we 're free.
+
+    Oh, watcher on the outer wall,
+      How wears the night away?
+    I hear the birds of morning call,
+      I see the break of day!
+            Rise, tell the knaves, etc.
+
+    The hands that hold the sword and purse
+      Ere long shall lose their prey;
+    And they who blindly wrought the curse,
+      The curse shall sweep away!
+            Then tell the knaves, etc.
+
+    The land again in peace shall rest,
+      With blood no longer stained;
+    The virgin beauty of the West
+      Shall be no more profaned.
+            We 'll teach the knaves, etc.
+
+    The snake about her cradle twined,
+      Shall infant Kansas tear;
+    And freely on the Western wind
+      Shall float her golden hair!
+            So tell the knaves, etc.
+
+    Then let the idlers stand apart,
+      And cowards shun the fight;
+    We'll band together, heart to heart,
+      Forget, forgive, unite!
+            And tell the knaves we are not slaves,
+              And tell them slaves we ne'er will be;
+            Come weal or woe, the world shall know
+              We 're free, we 're free, we 're free!
+
+It was Whittier's habit to freely suggest lines and even whole stanzas
+for poems submitted to him for criticism, and it may be readily
+believed that his hand is shown in this campaign song of his
+sister's:--
+
+
+FREMONT'S RIDE
+
+    As his mountain men followed, undoubting and bold,
+    O'er hill and o'er desert, through tempest and cold,
+    So the people now burst from each fetter and thrall,
+    And answer with shouting the wild bugle call.
+            Who 'll follow? Who 'll follow?
+              The bands gather fast;
+            They who ride with Fremont
+              Ride in triumph at last!
+
+    Oh, speed the bold riders! fling loose every rein,
+    The race run for freedom is not run in vain;
+    From mountain and prairie, from lake and from sea,
+    Ride gallant and hopeful, ride fearless and free!
+            Who 'll follow, etc.
+
+    The shades of the Fathers for Freedom who died,
+    As they rode in the war storm, now ride at our side;
+    Their great souls shall strengthen our own for the fray,
+    And the glance of our leader make certain the way.
+            Then follow, etc.
+
+    We ride not for honors, ambition or place,
+    But the wrong to redress, and redeem the disgrace;
+    Not for the North, nor for South, but the best good of all,
+    We follow Fremont, and his wild bugle call!
+            Who 'll follow? Who 'll follow?
+              The bands gather fast;
+            They who ride with Fremont
+              Ride in triumph at last!
+
+The following poem was written at the close of his last term at the
+Academy, and was published in the "Haverhill Gazette" of October 4,
+1828, signed "Adrian." Probably no other poem written by him in those
+days was so universally copied by the press of the whole country. Its
+rather pessimistic tone no doubt caused the poet to omit it from
+collections made after the great change in his outlook upon life to
+which reference has been made on another page.
+
+
+THE TIMES
+
+          "Oh dear! oh dear! I grieve, I grieve,
+           For the good old days of Adam and Eve."
+
+    The times, the times, I say, the times are growing worse than ever;
+    The good old ways our fathers trod shall grace their children never.
+    The homely hearth of ancient mirth, all traces of the plough,
+    The places of their worship, are all forgotten now!
+
+    Farewell the farmers' honest looks and independent mien,
+    The tassel of his waving corn, the blossom of the bean,
+    The turnip top, the pumpkin vine, the produce of his toil,
+    Have given place to flower pots, and plants of foreign soil.
+
+    Farewell the pleasant husking match, its merry after scenes,
+    When Indian pudding smoked beside the giant pot of beans;
+    When ladies joined the social band, nor once affected fear,
+    But gave a pretty cheek to kiss for every crimson ear.
+
+    Affected modesty was not the test of virtue then,
+    And few took pains to swoon away at sight of ugly men;
+    For well they knew the purity which woman's heart should own
+    Depends not on appearances, but on the heart alone.
+
+    Farewell unto the buoyancy and openness of youth--
+    The confidence of kindly hearts--the consciousness of truth,
+    The honest tone of sympathy--the language of the heart--
+    Now cursed by fashion's tyranny, or turned aside by art.
+
+    Farewell the social quilting match, the song, the merry play,
+    The whirling of a pewter plate, the merry fines to pay,
+    The mimic marriage brought about by leaping o'er a broom,
+    The good old blind man's buff, the laugh that shook the room.
+
+    Farewell the days of industry--the time has glided by
+    When pretty hands were prettiest in making pumpkin pie.
+    When waiting maids were needed not, and morning brought along
+    The music of the spinning wheel, the milkmaid's careless song.
+
+    Ah, days of artless innocence! Your dwellings are no more,
+    And ye are turning from the path our fathers trod before;
+    The homely hearth of honest mirth, all traces of the plough,
+    The places of their worshiping, are all forgotten now!
+
+I find among Mr. Whittier's papers the first draft of a poem that he
+does not seem to have prepared for publication. As it was written on
+the back of a note he received in March, 1890, that was probably the
+date of its composition:--
+
+
+A SONG OF PRAISES
+
+    For the land that gave me birth;
+    For my native home and hearth;
+    For the change and overturning
+    Of the times of my sojourning;
+    For the world-step forward taken;
+    For an evil way forsaken;
+      For cruel law abolished;
+      For idol shrines demolished;
+    For the tools of peaceful labor
+    Wrought from broken gun and sabre;
+    For the slave-chain rent asunder
+    And by free feet trodden under;
+    For the truth defeating error;
+    For the love that casts out terror;
+    For the truer, clearer vision
+    Of Humanity's great mission;--
+      For all that man upraises,
+      I sing this song of praises.
+
+The following poem is a variant of the "Hymn for the Opening of Thomas
+Starr King's House of Worship," and was contributed in 1883 to a fair
+in aid of an Episcopal chapel at Holderness, N. H.
+
+
+UNITY
+
+    Forgive, O Lord, our severing ways,
+    The separate altars that we raise,
+    The varying tongues that speak Thy praise!
+
+    Suffice it now. In time to be
+    Shall one great temple rise to Thee,
+    Thy church our broad humanity.
+
+    White flowers of love its walls shall climb,
+    Sweet bells of peace shall ring its chime,
+    Its days shall all be holy time.
+
+    The hymn, long sought, shall then be heard,
+    The music of the world's accord,
+    Confessing Christ, the inward word!
+
+    That song shall swell from shore to shore,
+    One faith, one love, one hope restore
+    The seamless garb that Jesus wore!
+
+
+
+
+FOOTNOTES:
+
+[Footnote 1: This story is told more fully in _Life and Letters_, pp.
+53, 54.]
+
+[Footnote 2: This picture is reproduced from a drawing by Miss
+Francesca Alexander in her exquisite volume, _Tuscan Songs_. It is the
+face of an Italian peasant, but bears so extraordinary a resemblance to
+Harriet Livermore (as testified by several who knew her) that it is
+here given as representing her better than any known portrait.]
+
+[Footnote 3: This letter has been published in full in a limited
+edition, by Mr. Goodspeed, together with a New Year's Address referred
+to in it as having given offense to some of the citizens of Rocks
+Village. A portion of this Address (which appeared in the _Haverhill
+Gazette_, January 5, 1828) is given in _Life and Letters_, pp. 62, 63.
+The lines that seem to have given offense are these:--
+
+"_Rocks_ folks are wide awake--their old bridge tumbled
+  Some years ago, and left them all forsaken;
+But they have risen, tired of being humbled,
+  And the first steps towards a new one taken.
+They're all alive--their trade becomes more clever,
+And mobs and riots flourish well as ever."
+
+Thirty-five years later, perhaps remembering the offense he had given
+in his youth by his portrayal of the _liveliness_ of the place, he
+shaded his picture in _The Countess_ with a different pencil, and we
+have a "stranded village" sketched to the life.]
+
+[Footnote 4: It is of curious interest that although the poem
+_Memories_ was first published in 1841, the description of the
+"beautiful and happy girl" in its opening lines is identical with that
+of one of the characters in _Moll Pitcher_, published nine years
+earlier, and I have authority for saying that Mary Smith was in mind
+when that portrait was drawn. Probably the reason why Whittier never
+allowed _Moll Pitcher_ to be collected was because he used lines from
+it in poems written at later dates.]
+
+[Footnote 5: This is how it happened: Mr. Downey saw a newspaper item
+to the effect that Mrs. S. F. Smith was a classmate of Whittier's. He
+knew that his wife was a classmate of Mrs. Smith, and "put this and
+that together." Without saying anything to her about it, he sent a
+tract of his to Whittier, and with it a note about his work as an
+evangelist; in a postscript he said, "Did you ever know Evelina Bray?"
+Whittier wrote a criticism of the tract, which was against Colonel
+Ingersoll, in which he said, "It occurs to me to say that in thy tract
+there is hardly enough charity for that unfortunate man, who, it seems
+to me, is much to be pitied for his darkness of unbelief." He added as
+a postscript, "What does _thee_ know about Evelina Bray?" Downey
+replied that she was his wife, but did not let her know of this
+correspondence, or of his receipt of money from her old schoolmate. He
+was not poor, only eccentric.]
+
+[Footnote 6: This house is now cared for by the Josiah Bartlett chapter
+of the Daughters of the Revolution.]
+
+[Footnote 7: The house of these brothers and the barn in which the
+husking was held may be seen near the West Ossipee station of the
+Boston and Maine Railroad. The Bearcamp House was burned many years
+ago, and never rebuilt.]
+
+[Footnote 8: There was a forest fire on a shoulder of Chocorua at this
+time.]
+
+[Footnote 9: She was knitting at the time.]
+
+[Footnote 10: She had refused to sing that evening.]
+
+[Footnote 11: Lucy Larcom was then suffering from hay fever.]
+
+[Footnote 12: The papers had an item to the effect that some one had
+given Whittier a cottage at the Isles of Shoals.]
+
+[Footnote 13: The only lawyer present.]
+
+[Footnote 14: A line is here missing. I had the copy of this poem from
+Mr. Weld himself when he was ninety years of age. He had accidentally
+omitted it in copying for me; and his death occurred before the
+omission was noticed.]
+
+
+
+
+INDEX
+
+
+
+
+INDEX
+
+
+"Abram Morrison," 86.
+
+"Adrian," 152.
+
+Agamenticus, 86, 89.
+
+Aldrich, T. B., 75.
+
+Allinson, Francis Greenleaf, 39.
+
+Allinson, W. J., 39.
+
+American Manufacturer, 69, 71, 102, 136.
+
+Amesbury, 3, 42, 55-89.
+
+Amesbury public library, 95.
+
+Ancient desk, 20.
+
+Andover, 5.
+
+Anecdotes as told by Whittier:
+  Aunt Mercy's vision, 22, 23;
+  Country Bridge ghost, 15;
+  conscience stirred by thunderstorm, 27;
+  Elizabeth's practical joke, 28;
+  the "tipsy wife," 31, 32;
+  cold drives to Amesbury, 33;
+  "Old Butler," 36;
+  the Morse boys, 36;
+  Garrison's first visit, 37;
+  a Quaker swaps cows, 37;
+  "the power of figures," 40-42;
+  instance of guidance of spirit, 82, 83;
+  legend of Po Hill, 85, 86;
+  Chase characterizes Lincoln's stories, 98;
+  Hiram Collins and Emerson, 98, 99.
+
+Anecdotes related of Whittier:
+  Last visit to birthplace, 24-38;
+  the fire on the hearth, 26;
+  attempt at levitation, 28;
+  visits site of "In School Days," 32;
+  cherry-tree incident, 34;
+  story of Evelina Bray, 68-72;
+  receives lightning stroke, 73;
+  taking notes at Quaker meeting, 82;
+  sees mirage at Salisbury Beach, 91;
+  Miss Phelps describes first meeting, 102;
+  thirteen at table, 93, 94;
+  clock strikes mysteriously, 95;
+  the May Quarterly Meeting, 96;
+  saving money for funeral expenses, 96;
+  the pet parrot, 97, 98;
+  husking at West Ossipee, 111-114;
+  an evening at Bearcamp, 114-118;
+  Alice Freeman Palmer's story, 118, 119;
+  contract of perpetual bachelorhood, 119;
+  his English Quaker guest, 122;
+  escapes dedication of Bartlett statue, 122.
+
+Anti-Masonic poem, 141.
+
+Appledore, 92.
+
+Artichoke River, 57, 58.
+
+"A Sea Dream," 69.
+
+"A Song of Praises," 153, 154.
+
+Ayer, Capt. Edmund, 29, 30.
+
+Ayer, Lydia, 26, 30.
+
+Ayer, Lydia Amanda (Mrs. Evans), 30.
+
+Ayer, Mrs., 117.
+
+
+Bagley, Valentine, 84.
+
+Bailey, Mary, 116.
+
+Bailey's Hill, 83.
+
+Bancroft, George, 64.
+
+Barnard, Mary, 96.
+
+Bartlett, Josiah, 84, 122-125.
+
+Bearcamp House, 110-117.
+
+Beecher, Catherine, 70.
+
+Beecher, Henry Ward, 76.
+
+Birchy Meadow, 44.
+
+Birthplace of Whittier, 8, 9-40.
+
+Blaine, James G., 64, 77, 78.
+
+Boar's Head, 86, 89.
+
+Bonny Beag, 86.
+
+Boon Island, 86.
+
+Boston "Statesman," 102.
+
+Boutelle, Thomas E., 99.
+
+Boyd, Rev. P. S., 4.
+
+Boynton, E. Moody, 122-124.
+
+Bradbury, Judge, and wife, 56.
+
+Bradford, 3.
+
+Bradstreet, Anne, 5.
+
+Bray, Evelina, 68, 71.
+
+Brown's Hill, 84.
+
+Burnham, Thomas E., 38.
+
+Burroughs, George, 101.
+
+Butler, Benjamin F., 36.
+
+Butler, Philip, 76.
+
+Butters, Charles, 38.
+
+Byron, Lord, 134-136.
+
+
+Caldwell, Adelaide, 112, 113, 117.
+
+Caldwell, Louis, 113.
+
+Caldwell, Mary (Whittier), 25, 74.
+
+Cape Ann, 86.
+
+Captain's Well, The, 83, 84.
+
+Carleton, James H., 38.
+
+Cartland, Gertrude (Whittier), 20, 104, 113.
+
+Cartland house, Newburyport, 20, 101.
+
+Cartland, Joseph, 82, 85, 92, 104, 113.
+
+Catalogue of father's library, 24, 25.
+
+Cate, George W., 101.
+
+Centre Harbor, N. H., 99, 110, 113.
+
+Chain Bridge, 59, 60.
+
+Chamber in which Whittier died, 94.
+
+"Changeling, The," 92.
+
+Chase, Aaron, 30, 32.
+
+Chase, Mrs. Moses, 32.
+
+Chase, Salmon P., 98.
+
+Child, Lydia Maria, 75.
+
+Chocorua, 110-115.
+
+Churchill, J. W., 123.
+
+Claflin, William, 102, 118.
+
+Clarkson, Thomas, 25.
+
+Clay, Henry, 77, 141.
+
+"Cobbler Keezar's Vision," 86.
+
+Coffin, Joshua, 26, 30, 31, 103, 104.
+
+Coggswell, William, 64.
+
+Collier, Rev. William R., 102.
+
+Collins, Hiram, 124.
+
+"Common Question, The," 97.
+
+Corliss Hill, 30-32.
+
+"Countess, The," 47, 51.
+
+Country Bridge, 14, 15, 46.
+
+Country Brook, 14-17, 104.
+
+Crane Neck, 86.
+
+Currier, Horace, 117.
+
+Curson's Mill, 57, 58.
+
+Cushing, Caleb, 5.
+
+
+Dana, Charles A., 149.
+
+Danvers, 86.
+
+Daughters of the Revolution, 84.
+
+Davis, Robert T., 122.
+
+Deer Island, 5, 58-60.
+
+Dickens, Charles, 108.
+
+"Division, The," 109.
+
+Douglass, Frederick, 64.
+
+Downey, Evelina (Bray), 71.
+
+Downey, W. S., 70.
+
+Duncan, Sarah M. F., 38.
+
+Dustin, Hannah, 40.
+
+
+East Haverhill, 3.
+
+East Haverhill church, 51.
+
+Ela, Amelia, 19.
+
+"Eleanor," 46.
+
+Ellwood's "Drab-Skirted Muse," 25.
+
+Emerson, Nehemiah, 66.
+
+Emerson, Ralph Waldo, 65, 99.
+
+Emmons, "Ginger-Pop," 124.
+
+Essex Club, 64.
+
+"Eternal Goodness, The," 63, 107.
+
+"Eternity," 137, 138.
+
+"Exiles, The," 84.
+
+
+Fernside Brook, 9, 11, 12, 16, 17.
+
+Ferry, the, 75.
+
+Fields, Annie, 102.
+
+Fields, James T., 46, 102.
+
+Fletcher, Rev. J. C., 58, 89, 92.
+
+Ford, Miss, 112, 116.
+
+"Fountain, The," 87.
+
+Fox, George, 25, 47.
+
+"Fragment, A," 136.
+
+Frankle, Annie W., 38.
+
+Fremont, J. C., 149.
+
+Friend Street, 58.
+
+Friends' meeting-house, 33, 80, 81.
+
+Frietchie, Barbara, 65.
+
+Frinksborough, 138.
+
+
+"Gail Hamilton's Wedding," 120-122.
+
+Garden at birthplace, 18.
+
+Garden room, Amesbury, 32, 62-71.
+
+Garrison, William Lloyd, 37, 76, 103, 104.
+
+Garrison's birthplace, 103.
+
+Golden Hill, 8.
+
+Goodspeed, C. E., 51 note. (TR: now Footnote 3)
+
+"Goody" Martin, 56, 57, 84.
+
+Gordon, "Chinese," 65.
+
+Gove, Sarah Abby, 92, 93.
+
+"Grave of Morgan, The," 142, 143.
+
+Green, Ruth, 29.
+
+Greene, Nathaniel, 102.
+
+Greenleaf, Sarah, 20, 22, 29, 103.
+
+Grimké, Angelina, 119.
+
+Group at Sturtevant's, 113.
+
+Groveland, 3.
+
+
+"Hamilton, Gail," 108, 120-122.
+
+Hampton Beach, 86, 88.
+
+Hampton Falls, 92, 93.
+
+Hampton marshes, 92.
+
+Hampton River, 88.
+
+Haskell, George, 40.
+
+"Haunted Bridge of Country Brook," 15.
+
+Haverhill, 3, 7.
+
+Haverhill Academy, 6, 129.
+
+"Haverhill Gazette," 24, 48, 136, 143, 152.
+
+Hawkswood, 58.
+
+Hay, John, 75.
+
+Higginson, Thomas Wentworth, 78.
+
+Hines, Peter, 117.
+
+Hoar, George F., 64.
+
+Holmes, Oliver Wendell, 108.
+
+"Homecoming of the Bride, The," 15, 104.
+
+How, George C., 38.
+
+"How they climbed Chocorua," 111.
+
+Howe, Julia Ward, 75.
+
+Hume, Isabel, 116.
+
+Huntington, Jacob R., 84, 122.
+
+Hussey, Mercy Evans, 22, 26, 61, 62, 85.
+
+
+Ichneumon, the living, 138.
+
+"In School Days," 26, 30, 32.
+
+Ipswich, 86.
+
+Ireson, Capt. Benjamin, 72.
+
+Isles of Shoals, 86, 89, 91, 117.
+
+"I would not lose that Romance Wild," 130.
+
+
+Jackson, Andrew, 141.
+
+Job's Hill, 9, 12, 17, 36.
+
+Johnson, Caroline, 101.
+
+Johnson, Mary, 101.
+
+"June on the Merrimac," 58.
+
+"Justice and Expediency," 22.
+
+
+Kansas, 150, 151.
+
+Kearsarge, 86.
+
+Kelley, Clarence E., 38.
+
+Kimball's Pond, 95.
+
+Kitchen at birthplace, 17, 19, 21, 23
+
+Knox brothers, 110-115.
+
+
+Ladd, "Squire," 32.
+
+Lake Kenoza, 8, 10.
+
+Lansing, Miss, 111, 116.
+
+Larcom, Lucy, 111, 114, 116.
+
+"Last Walk in Autumn, The," 56.
+
+"Last Will of Man in Bear-Trap, The," 116-118.
+
+"Laurels, The," 58.
+
+Lee, N. H., 100.
+
+Little Boar's Head, 86.
+
+Livermore, Harriet, 39, 101.
+
+Lloyd, Elizabeth, 34.
+
+Longfellow, Henry W., 65, 108.
+
+Lowell, James Russell, 108.
+
+
+"Mabel Martin," 56, 84.
+
+Macy house, 84.
+
+Macy, Thomas, 84.
+
+"Maids of Attitash, The," 95.
+
+Map of Whittier-Land, xii.
+
+Marlboro Hotel, 102.
+
+"Memorial, A," 98.
+
+"Memories," 66.
+
+Menahga, 46.
+
+Merrimac, town, 3, 44, 82.
+
+Merrimac River, 3, 4, 44, 56, 58, 60.
+
+Millvale, 15, 46, 104.
+
+Minot, Harriet (Mrs. Pitman), 138.
+
+"Miriam," 86.
+
+Mitford, Mary Russell, 75.
+
+"Moll Pitcher," 66 note (TR: now Footnote 4), 131.
+
+Monadnock, 33, 86.
+
+Morgan, William, 141.
+
+Morrill, Jettie, 116.
+
+Morse, "Goody," 104.
+
+Mother's room, 22, 23.
+
+Moulton house, Hampton, 92.
+
+Moulton's Hill, 58.
+
+Mount Washington, 86.
+
+Mundy Hill, 84, 87.
+
+"My Double," 123-125.
+
+"My Namesake," 39.
+
+"My Playmate," 44, 46, 67.
+
+
+"Name, A," 74.
+
+"National Era," 76, 150.
+
+Newbury, 3, 14, 32, 44, 56, 58, 86, 103.
+
+Newburyport, 3, 86.
+
+"New England," 131-134.
+
+"New England Review," 43, 76, 131, 137.
+
+New York "Tribune," 149.
+
+"New Wife and the Old, The," 92.
+
+Niagara Falls, 141.
+
+Nicholson, Elizabeth, 34.
+
+"Northern Lights, The," 146, 147.
+
+Nottingham, N. H., 96.
+
+
+Oak Knoll, Danvers, 99, 101, 122, 123.
+
+Ode for dedication of Academy, 7.
+
+"Old Burying Ground, The," 51.
+
+"Old Oaken Bucket, The," 147.
+
+Old South meeting-house, Newburyport, 103, 104.
+
+"One of the Signers," 122.
+
+Ordway, Alfred A., 17-19, 35, 38, 46.
+
+Ossipee range, 86.
+
+"Our River," 58.
+
+"Ours," 79, 80.
+
+
+Palmer, Alice Freeman, 118, 119.
+
+Passaconaway, 86.
+
+Pawtuckaway range, 95.
+
+Peaslee house, "Old Garrison," 46, 47, 55.
+
+Peaslee, Joseph, 47.
+
+Peaslee, Mary, 29, 46.
+
+"Pennsylvania Freeman," 61, 70, 76.
+
+Pennsylvania Hall, 119.
+
+Pickard, Elizabeth (Whittier), 20, 22, 39, 71, 74, 75, 85, 90, 94,
+109, 116.
+
+Pickard, Greenleaf Whittier, 74, 94.
+
+Pickard, S. T., 116, 117.
+
+Pillsbury, Mary, 35.
+
+Pleasant Valley, 55, 58.
+
+Plum Island, 86.
+
+Plummer, Celeste, 112, 116.
+
+Poems hitherto uncollected:
+  Ode sung at dedication of Academy, 7;
+  Catalogue of his father's library, 22;
+  Lines in album, 30;
+  "A Retrospect," 35;
+  "The Plaint of the Merrimac," 59, 60;
+  "The Division," 109;
+  "How they climbed Chocorua," 111-114;
+  "To the Unknown and Absent Author of 'How they climbed Chocorua,'"
+      114, 115;
+  "Last Will of Man in Bear-Trap," 116-118;
+  Weld epithalamium, 119, 120;
+  "Gail Hamilton's Wedding," 120-122;
+  "My Double," 123-125;
+  "I would not lose that Romance Wild," 130;
+   "New England," 131-133;
+  "That Vow of Thine," 133, 134;
+  "The Spectre," 135, 136;
+  "A Fragment," 136, 137;
+  "Eternity," 137, 138;
+  "Dead Ichneumon," 139-141;
+  "Grave of Morgan," 142, 143;
+  "The Thunder Spirit," 143;
+  "Worship of Nature," 144, 145;
+  "Northern Lights," 146, 147;
+  "The Willow," 148, 149;
+  "Uses of Sorrow," 149;
+  "We're Free," 150, 151;
+  "Fremont's Ride," 151, 152;
+  "The Times," 152, 153;
+  "Song of Praises," 153, 154.
+
+Po Hill, 33, 57, 84, 87.
+
+Pond Hills, 44.
+
+Porter, Dudley, 38.
+
+Porter, J. S., 25, 71.
+
+Portland, 20, 22, 118.
+
+Powow River, 56, 57, 60, 79, 83, 84, 86-87, 88.
+
+"Preacher, The," 84.
+
+"Pressed Gentian, The," 64.
+
+Purchase of birthplace, 38.
+
+
+Ramoth Hill, 46, 67.
+
+"Relic, The," 64.
+
+"Revisited," 58.
+
+Reunion of schoolmates, 70.
+
+River Path, picture of, 5.
+
+"River Path, The," 49, 55, 56.
+
+River valley, near grave of Countess, 49.
+
+Rocks Bridge, 48.
+
+Rocks Village, 32, 44, 46, 51, 55.
+
+Rocky Hill, 84.
+
+Rocky Hill meeting-house, 87, 89.
+
+Rogers, John, 125.
+
+Rowley, 86.
+
+
+Salisbury, 3, 14.
+
+Salisbury Beach, 86, 88, 89.
+
+Salisbury Point, 77.
+
+Saltonstall mansion, 45.
+
+Sanders, Susan B., 38.
+
+"Sea Dream, A," 69.
+
+Scene on Country Brook, 43.
+
+Sewel's "Painful History," 25.
+
+Silver Hill, 8, 10.
+
+Smith, Joseph Lindon, 26.
+
+Smith, Mary Emerson, 66, 67.
+
+Smith, S. F., 71, 72.
+
+Smith, Mrs. S. F., 71, 72.
+
+"Snow-Bound," 12, 20, 24, 39, 48, 63, 74.
+
+Snow-Bound barn, 12.
+
+Snow-Bound kitchen, 12, 17-52.
+
+Somersworth, N. H., 22.
+
+"Song of Praises, A," 153, 154.
+
+Sparhawk, Dr. Thomas, 76.
+
+"Spectre, The," 135, 136.
+
+Spofford, Harriet Prescott, 5, 59.
+
+Stanton, Edwin M., 84.
+
+Stowe, Harriet Beecher, 75.
+
+Sturge, Joseph, 61, 63-65.
+
+Sturtevant, Miss, 112.
+
+Sturtevant, Mrs., 117.
+
+Sturtevant's, 110, 113.
+
+Sumner, Charles, 108.
+
+Sycamores, the, 8, 45.
+
+
+Tallant, Hugh, 45.
+
+Tappan, Lewis, 62.
+
+Taylor, Bayard, 65.
+
+Taylor, Henry, 98, 99.
+
+Taylor, Marie, 66.
+
+"Telling the Bees," 17.
+
+"Tent on the Beach, The," 74, 87, 90, 91.
+
+"That Vow of Thine," 133, 134.
+
+Thaxter, Celia, 92.
+
+Thayer, Abijah W., 24.
+
+Thayer, Sarah S., 24.
+
+Thomas, Mary Emerson (Smith), 66, 67.
+
+Thoreau, Henry D., 5.
+
+Thornton, Sir Edward, 58.
+
+"Times, The," 152, 153.
+
+"To My Old Schoolmaster," 30, 104.
+
+Tracy, Mrs., 49.
+
+Trowbridge, J. T., 28, 40.
+
+Turner, Judge, 77.
+
+
+Union Cemetery, 29, 57, 84, 85.
+
+"Unity," 154.
+
+"Up and Down the Merrimac," 4.
+
+"Uses of Sorrow, The," 149.
+
+
+Wachusett, 33, 86.
+
+Wade, Mrs., 113.
+
+Wakeman, Rev. Mr., 94.
+
+Ward, Elizabeth Phelps, 102.
+
+Washington, George, 45, 60.
+
+Weld, Dr. Elias, 48-50, 66.
+
+Weld, Theodore D., 51, 119.
+
+Wendell, Ann, 141.
+
+"We 're Free," 150, 151.
+
+West, Mary S., 46.
+
+West Ossipee, N. H., 110, 111.
+
+Whiteface, 86.
+
+Whitefield church, 103.
+
+Whitefield, George, 103, 104.
+
+Whittier, Abigail, 22-24, 26, 74, 78.
+
+Whittier, Elizabeth H., 28, 34, 61, 62, 74, 75, 78, 85, 90-92, 150.
+
+Whittier Hill, 14, 84.
+
+Whittier home, Amesbury, 61-79, 86.
+
+Whittier, John, 12, 20, 24, 85.
+
+Whittier, John Greenleaf,
+  reviews Boyd's "Up and Down the Merrimac," 4;
+  interest in psychical research, 23;
+  catalogues his father's library, 24, 25; his
+  early pessimism, 42-44, 129;
+  letter to Dr. Weld, 50, 51;
+  carrier's address quoted, 51 note; (TR: now Footnote 3)
+  removal to Amesbury, 60, 61;
+  tribute of Essex Club, 64;
+  friendship for schoolmates, 66-72;
+  reason why never married, 68;
+  portrait at age of twenty-two, 69;
+  prostrated by lightning, 73;
+  person referred to in "Memories" and "My Playmate," 67;
+  receives bullet wound, 76;
+  at town meeting, 77;
+  home life sketched by Higginson, 78;
+  plans Friends' meeting-house, 80;
+  preferred silent meetings, 81, 82;
+  interest in psychical research, 83;
+  his cemetery lot, 85;
+  care for Amesbury public library, 96;
+  portrait at age of forty-nine, 97;
+  his Boston homes, 102;
+  letter to Newbury celebration, 103, 104;
+  radical change in his spirit, 129;
+  peculiarity of his laugh, 108.
+
+Whittier, Joseph, 20, 29, 47.
+
+Whittier, Joseph, 2d, 29.
+
+Whittier, Mary, 26, 29.
+
+Whittier, Matthew Franklin, 26, 37, 65, 74, 85, 100.
+
+Whittier mill, 18.
+
+Whittier, Moses, 12, 20, 75, 85.
+
+Whittier, Obadiah, 75.
+
+Whittier, Thomas, 14, 15, 29, 46.
+
+"Willow, The," 148, 149.
+
+Winthrop Hotel, 102.
+
+Winthrop, Robert C., 64.
+
+"Witch's Daughter, The," 56.
+
+"Wood Giant, The," 99, 100.
+
+Woodman, Mrs. Abby, 101.
+
+"Worship of Nature, The," 144, 145.
+
+"Wreck of Rivermouth, The," 88.
+
+
+
+
+A LIST OF THE WORKS
+
+OF
+
+JOHN GREENLEAF WHITTIER
+
+
+
+
+[Illustration: (decoration)]
+
+Writings of
+JOHN GREENLEAF WHITTIER
+
+_No edition of the Poetical and Prose Writings of John Greenleaf
+Whittier is complete and authorized which does not bear the imprint of
+Houghton Mifflin Company._
+
+
+COMPLETE WORKS
+
+_Riverside Edition._ In 7 volumes.
+
+
+_POETRY_
+
+1. Narrative and Legendary Poems.
+
+2. Poems of Nature; Poems Subjective and Reminiscent; Religious Poems.
+
+3. Anti-Slavery; Songs of Labor and Reform.
+
+4. Personal Poems; Occasional Poems; Tent on the Beach; Appendix.
+
+
+_PROSE_
+
+1. Margaret Smith's Journal; Tales and Sketches.
+
+2. Old Portraits and Modern Sketches; Personal Sketches and Tributes;
+Historical Papers.
+
+3. The Conflict with Slavery; Politics and Reform; The Inner Life;
+Criticism.
+
+     Each volume, crown 8vo, gilt top; the set, $10.50. With
+     "Life of Whittier" (2 vols.) by SAMUEL T. PICKARD, 9 vols.,
+     $14.50.
+
+
+PROSE WORKS
+
+_Riverside Edition._ With Notes by the Author, and etched Portrait. 3
+vols. crown 8vo, gilt top, $4.50.
+
+
+POEMS
+
+_Riverside Edition._ With Portraits, Notes, etc. 4 vols., crown 8vo,
+gilt top, $6.00.
+
+_Handy-Volume Edition._ With Portraits, and a View of Whittier's Oak
+Knoll Home. 4 vols., 16mo, gilt top, in cloth box, $4.00. Bound in
+full, flexible leather, $10.00.
+
+_Cambridge Edition._ With a Biographical Sketch, Notes, Index to Titles
+and First Lines, a Portrait, and an engraving of Whittier's Amesbury
+Home. Large crown 8vo, gilt top, $2.00.
+
+_Library Edition._ With Portrait and 8 full-page Photogravures. 8vo,
+gilt top, $2.50.
+
+_Household Edition._ With Portrait and Illustrations. Crown 8vo, $1.50.
+
+_Cabinet Edition._ From new plates, with numbered lines, and Portrait.
+16mo, gilt top, $1.00.
+
+
+_SEPARATE POEMS_
+
+=Snow-Bound.= A Winter Idyl. _Holiday Edition._ With eight
+Photogravures and Portrait. 16mo, gilt top, $1.50.
+
+=The Tent on the Beach.= _Holiday Edition._ With rubricated Initials
+and 12 full-page Photogravure Illustrations by CHARLES H. WOODBURY and
+MARCIA O. WOODBURY. 12mo, gilt top, $1.50.
+
+=At Sundown.= With Portrait and 8 Photogravures. 16mo, gilt top, $1.50.
+
+=Legends and Lyrics.= 16mo, gilt top, 75 cents.
+
+
+COMPILATIONS
+
+=Birthday Book.= With Portrait and 12 Illustrations. 18mo, $1.00.
+
+=Calendar Book.= 32mo, parchment-paper, 25 cents.
+
+=Year Book.= With Portrait. 18mo, $1.00.
+
+=Text and Verse.= For Every Day in the Year. Scripture Passages and
+Parallel Selections from WHITTIER'S Writings. 32mo, 75 cents.
+
+
+EDITED BY MR. WHITTIER
+
+=Songs of Three Centuries.= _Library Edition._ With 40 full-page
+Illustrations. 8vo, gilt top, $2.50.
+
+_Household Edition._ Much enlarged. Crown 8vo, $1.50.
+
+=Child-Life.= A Collection of Poems for and about Children. _New
+Edition._ Finely Illustrated. 4to, $1.50.
+
+=Child-Life in Prose.= A Volume of Stories, Fancies, and Memories of
+Child-Life. Finely Illustrated. Crown 8vo, gilt top, $2.00.
+
+
+Many of the above editions may be had in leather bindings of various
+styles.
+
+HOUGHTON MIFFLIN COMPANY
+
+4 Park Street, Boston. 85 Fifth Ave., New York
+
+[Illustration: (decoration)]
+
+
+
+
+       *       *       *       *       *
+
+Transcriber's Notes
+
+
+Contents: Added listing for Footnotes.
+
+Some illustrations have been moved to avoid breaking up poems and
+paragraphs of text. The List of Illustrations displays the original
+page numbers.
+
+Spaced contractions have been retained from the original book.
+
+Omitted lines of poetry are indicated by a row of 5 dots.
+
+Bold text is indicated by =.
+
+Italic text is indicated by _.
+
+Index: Corrected page references for:
+  Hussey, Mercy Evans, from 21 to 22.
+  Whittier, John Greenleaf,
+    portrait at age of forty-nine, from 95 to 97.
+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of Whittier-land, by Samuel T.  Pickard
+
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+
+<pre>
+
+The Project Gutenberg EBook of Whittier-land, by Samuel T.  Pickard
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Whittier-land
+       A Handbook of North Essex
+
+Author: Samuel T.  Pickard
+
+Release Date: August 22, 2009 [EBook #29754]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK WHITTIER-LAND ***
+
+
+
+
+Produced by K. Nordquist, Diane Monico, and the Online
+Distributed Proofreading Team at http://www.pgdp.net (This
+file was produced from images generously made available
+by The Internet Archive/American Libraries.)
+
+
+
+
+
+
+</pre>
+
+
+
+
+
+<div class="figcenter" style="width: 424px;">
+<img src="images/image200.jpg" width="424" height="600" alt="(cover)" title="" />
+</div>
+
+<hr style="width: 65%;" />
+<h1>WHITTIER-LAND</h1>
+
+<p class="title"><i><big>SAMUEL T. PICKARD</big></i></p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/image201.jpg" width="300" height="259" alt="" title="" />
+</div>
+
+
+
+<hr style="width: 65%;" />
+<div class="bbox">
+<p class="center serif"><big><b>By Samuel T. Pickard</b></big></p>
+
+<p>WHITTIER-LAND. Illustrated. 12mo, $1.00
+<i>net</i>. Postage 9 cents.</p>
+
+<p>LIFE AND LETTERS OF JOHN GREENLEAF
+WHITTIER. With Portraits and
+other Illustrations. 2 vols. crown 8vo, gilt
+top, $4.00.</p>
+
+<p><i>One-Volume Edition</i>. Illustrated. Crown
+8vo, $2.50.</p>
+
+<p class="center">HOUGHTON MIFFLIN COMPANY<br />
+
+<span class="smcap">Boston and New York</span></p>
+</div>
+
+
+<hr style="width: 65%;" />
+<h1>WHITTIER-LAND</h1>
+
+
+<div class="figcenter" style="width: 434px;">
+<a name="frontispiece" id="frontispiece"></a>
+<img src="images/image208.jpg" width="434" height="600" alt="JOHN GREENLEAF WHITTIER
+From an ambrotype taken about 1857" title="JOHN GREENLEAF WHITTIER
+From an ambrotype taken about 1857" />
+<span class="caption">JOHN GREENLEAF WHITTIER<br />
+<small>From an ambrotype taken about 1857</small></span>
+</div>
+
+<hr style="width: 65%;" />
+
+
+<h1>WHITTIER-LAND<br /></h1>
+<div class="serif">
+<h2>A Handbook of North Essex<br />
+<br /></h2></div>
+<p class="title">CONTAINING MANY ANECDOTES OF AND POEMS<br />
+BY JOHN GREENLEAF WHITTIER<br />
+NEVER BEFORE COLLECTED<br />
+</p>
+<p class="title"><small>BY</small><br />
+<br />
+<big>SAMUEL T. PICKARD</big><br />
+<br />
+<small><span class="smcap">Author of "Life and Letters of John Greenleaf Whittier"</span></small><br />
+
+<i>ILLUSTRATED WITH MAP AND ENGRAVINGS</i><br />
+</p>
+<div class="figcenter" style="width: 104px;">
+<img src="images/image209.png" width="104" height="150" alt="The Riverside Press" title="" />
+</div>
+
+<p class="title"><small>BOSTON AND NEW YORK</small><br />
+HOUGHTON MIFFLIN COMPANY<br />
+<span class="serif">The Riverside Press Cambridge</span><br />
+</p>
+
+
+
+<hr style="width: 65%;" />
+<p class="center"><small>
+COPYRIGHT 1904 BY SAMUEL T. PICKARD<br />
+<br />
+ALL RIGHTS RESERVED<br />
+<br />
+<i>Published April 1904</i><br />
+<br />
+EIGHTH IMPRESSION<br />
+</small></p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_vii" id="Page_vii">[Pg vii]</a></span></p>
+<h2><a name="PREFACE" id="PREFACE"></a>PREFACE</h2>
+
+
+<p>This volume is designed to meet a call from tourists who
+are visiting the Whittier shrines at Haverhill and Amesbury
+in numbers that are increasing year by year. Besides
+describing the ancestral homestead and its surroundings,
+and the home at Amesbury, an attempt is made to answer
+such questions as naturally arise in regard to the localities
+mentioned by Whittier in his ballads of the region. Many
+anecdotes of the poet and several poems by him are now
+first published. It is with some hesitancy that I have ventured
+to add a chapter upon a phase of his character that
+has never been adequately presented: I refer to his keen
+sense of humor. It will be understood that none of the
+impromptu verses I have given to illustrate his playful
+moods were intended by him to be seen outside a small
+circle of friends and neighbors. This playfulness, however,
+was so much a part of his character from boyhood to old
+age that I think it deserves some record such as is here
+given.</p>
+
+<p>For those who are interested to inquire to whom refer
+passages in such poems as "Memories," "My Playmate,"
+and "A Sea Dream," I now feel at liberty to give such
+information as could not properly be given at the time
+when I undertook the biography of the poet.</p>
+
+<p>If any profit shall be derived from the sale of this book,
+it will be devoted to the preservation and care of the
+homes here described, which will ever be open to such
+visitors as love the memory of Whittier.</p>
+
+<p class="author">S. T. P.</p>
+
+<p><span class="smcap">Whittier Home, Amesbury, Mass.</span>,<br />
+<span style="margin-left: 2em;">March, 1904.</span><br />
+</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_viii" id="Page_viii">[Pg viii]</a></span></p>
+<h2><a name="CONTENTS" id="CONTENTS"></a>CONTENTS</h2>
+
+
+<ul>
+<li class="lsoff">&nbsp;<span class="tocright">       <small>PAGE</small></span></li>
+</ul>
+<ol class="toc">
+<li>   Haverhill<span class="tocright">   <a href="#Page_1">1</a></span></li>
+
+<li>  Amesbury<span class="tocright">   <a href="#Page_53">53</a></span></li>
+
+<li> Whittier's Sense of Humor<span class="tocright">        <a href="#Page_105">105</a></span></li>
+
+<li>  Whittier's Uncollected Poems<span class="tocright">     <a href="#Page_127">127</a></span></li>
+
+<li class="lsoff">     Footnotes<span class="tocright">       <a href="#FOOTNOTES">154</a></span></li>
+
+<li class="lsoff">     Index<span class="tocright">            <a href="#Page_155">155</a></span></li>
+</ol>
+
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_ix" id="Page_ix">[Pg ix]</a></span></p>
+<h2><a name="LIST_OF_ILLUSTRATIONS" id="LIST_OF_ILLUSTRATIONS"></a>LIST OF ILLUSTRATIONS</h2>
+
+
+<ul>
+<li>John Greenleaf Whittier<span class="tocright">      <i><a href="#frontispiece">Frontispiece</a></i></span></li>
+<li><span style="margin-left: 2em;"><small>From an Ambrotype taken about 1857.</small></span></li>
+
+<li>Map of Whittier-Land<span class="tocright">      <a href="#map">xii</a></span></li>
+
+<li>Whittier's Birthplace<span class="tocright">      <a href="#whittiers_birthplace">2</a></span></li>
+<li><span style="margin-left: 2em;"><small>From a photograph by Alfred A. Ordway.</small></span></li>
+
+<li>River Path, near Haverhill<span class="tocright">        <a href="#river_path">5</a></span></li>
+<li><span style="margin-left: 2em;"><small>From a photograph by Ordway.</small></span></li>
+
+<li>Haverhill Academy<span class="tocright">      <a href="#haverhill_academy">6</a></span></li>
+<li><span style="margin-left: 2em;"><small>From a photograph by G. W. W. Bartlett.</small></span></li>
+
+<li>Main Street, Haverhill<span class="tocright">      <a href="#main_st_haverhill">8</a></span></li>
+<li><span style="margin-left: 2em;"><small>From a photograph by Ordway.</small></span></li>
+
+<li>Birthplace in Winter<span class="tocright">       <a href="#birthplace_winter">9</a></span></li>
+<li><span style="margin-left: 2em;"><small>From a photograph by Ordway.</small></span></li>
+
+<li>Kenoza Lake<span class="tocright">       <a href="#kenoza">10</a></span></li>
+<li><span style="margin-left: 2em;"><small>From a photograph by Ordway.</small></span></li>
+
+<li>Fernside Brook, the Stepping-Stones<span class="tocright">       <a href="#fernside_brook">11</a></span></li>
+<li><span style="margin-left: 2em;"><small>From a photograph by Ordway.</small></span></li>
+
+<li>The Birthplace, from the Road<span class="tocright">       <a href="#birthplace_from_road">13</a></span></li>
+<li><span style="margin-left: 2em;"><small>From a photograph by Ordway.</small></span></li>
+
+<li>"The Haunted Bridge of Country Brook"<span class="tocright">      <a href="#haunted_bridge">15</a></span></li>
+<li><span style="margin-left: 2em;"><small>From a photograph by W. L. Bickum.</small></span></li>
+
+<li>Garden at Birthplace<span class="tocright">       <a href="#garden_at_birthplace">18</a></span></li>
+<li><span style="margin-left: 2em;"><small>From a photograph by W. L. Bickum.</small></span></li>
+
+<li>Snow-Bound Kitchen, Eastern End<span class="tocright">       <a href="#kitchen_in_birthplace">21</a></span></li>
+<li><span style="margin-left: 2em;"><small>From a photograph by Ordway.</small></span></li>
+
+<li>Snow-Bound Kitchen, Western End<span class="tocright">      <a href="#western_end_of_kitchen">23</a></span></li>
+<li><span style="margin-left: 2em;"><small>From a photograph by Ordway.</small></span></li>
+
+<li>The Whittier Elm<span class="tocright">      <a href="#whittier_elm">29</a></span></li>
+
+<li>Joshua Coffin, Whittier's First Schoolmaster<span class="tocright">      <a href="#joshua_coffin">31</a></span></li>
+
+<li>Scene of "In School Days"<span class="tocright">       <a href="#scene_in_school_days">33</a></span></li>
+<li><span style="margin-left: 2em;"><small>From a pencil sketch by W. L. Bickum.</small></span></li>
+
+<li>Harriet Livermore, "Half-welcome Guest"<span class="tocright">      <a href="#harriet_livermore">41</a></span></li></ul>
+<p><span class="pagenum"><a name="Page_x" id="Page_x">[Pg x]</a></span></p>
+<ul><li>Scene on Country Brook<span class="tocright">      <a href="#scene_on_country_brook">43</a></span></li>
+<li><span style="margin-left: 2em;"><small>From a photograph by Ordway.</small></span></li>
+
+<li>The Sycamores<span class="tocright">       <a href="#sycamores">45</a></span></li>
+<li><span style="margin-left: 2em;"><small>From a photograph by Ordway.</small></span></li>
+
+<li>Old Garrison House (Peaslee House)<span class="tocright">       <a href="#old_garrison_house">47</a></span></li>
+
+<li>Rocks Village and Bridge<span class="tocright">        <a href="#rocks_village">48</a></span></li>
+<li><span style="margin-left: 2em;"><small>From a photograph by Ordway.</small></span></li>
+
+<li>River Valley, near Grave of Countess<span class="tocright">       <a href="#river_valley_grave_countess">49</a></span></li>
+<li><span style="margin-left: 2em;"><small>From a photograph by Ordway.</small></span></li>
+
+<li>Dr. Elias Weld, the "Wise Old Physician" of Snow-Bound, at the Age of Ninety<span class="tocright">        <a href="#elias_weld">50</a></span></li>
+
+<li>Curson's Mill, Artichoke River<span class="tocright">        <a href="#cursons_mill">57</a></span></li>
+<li><span style="margin-left: 2em;"><small>From a photograph by Ordway.</small></span></li>
+
+<li>Deer Island and Chain Bridge, Home of Mrs. Spofford<span class="tocright">      <a href="#deer_island">59</a></span></li>
+
+<li>The Whittier Home, Amesbury<span class="tocright">       <a href="#whittier_home_amesbury">61</a></span></li>
+<li><span style="margin-left: 2em;"><small>From a photograph by Mrs. P. A. Perry.</small></span></li>
+
+<li>Joseph Sturge, Whittier's English Benefactor<span class="tocright">       <a href="#joseph_sturge">63</a></span></li>
+
+<li>"Garden Room" Amesbury Home<span class="tocright">       <a href="#garden_room_amesbury">65</a></span></li>
+<li><span style="margin-left: 2em;"><small>From a photograph by C. W. Briggs.</small></span></li>
+
+<li>Mrs. Thomas, to whom "Memories" was Addressed<span class="tocright">        <a href="#mary_emerson_smith_thomas">67</a></span></li>
+
+<li>Evelina Bray, at the Age of Seventeen<span class="tocright">       <a href="#evelina_bray_17">68</a></span></li>
+<li><span style="margin-left: 2em;"><small>From a miniature by J. S. Porter.</small></span></li>
+
+<li>Whittier, at the Age of Twenty-two. His earliest portrait<span class="tocright">        <a href="#Page_69">69</a></span></li>
+<li><span style="margin-left: 2em;"><small>From a miniature by J. S. Porter.</small></span></li>
+
+<li>Evelina Bray Downey, at the Age of Eighty<span class="tocright">         <a href="#evelina_bray_downey">71</a></span></li>
+
+<li>Elizabeth Whittier Pickard<span class="tocright">       <a href="#mrs_pickard">75</a></span></li>
+<li><span style="margin-left: 2em;"><small>From a portrait by Kittell.</small></span></li>
+
+<li>Scene in Garden, at Whittier's Funeral<span class="tocright">       <a href="#scene_garden_whittiers_funeral">76</a></span></li>
+
+<li>The Ferry, Salisbury Point, Mouth of Powow<span class="tocright">       <a href="#ferry_salisbury_point">77</a></span></li>
+<li><span style="margin-left: 2em;"><small>From a photograph by Miss Woodman.</small></span></li>
+
+<li>Powow River and Po Hill<span class="tocright">      <a href="#powow_river_po_hill">79</a></span></li>
+<li><span style="margin-left: 2em;"><small>From a photograph by Miss Woodman.</small></span></li>
+
+<li>Friends' Meeting-House at Amesbury<span class="tocright">       <a href="#friends_meeting-house">80</a></span></li>
+<li><span style="margin-left: 2em;"><small>From a photograph by Mrs. P. A. Perry.</small></span></li>
+
+<li>Interior of Friends' Meeting-House<span class="tocright">       <a href="#interior_friends_meeting-house">81</a></span></li>
+<li><span style="margin-left: 2em;"><small>From a photograph by G. W. W. Bartlett.</small></span></li>
+</ul>
+<p><span class="pagenum"><a name="Page_xi" id="Page_xi">[Pg xi]</a></span></p>
+<ul>
+<li>Captain's Well<span class="tocright">       <a href="#captains_well">83</a></span></li>
+<li><span style="margin-left: 2em;"><small>From a photograph by G. W. W. Bartlett.</small></span></li>
+
+<li>Whittier Lot, Union Cemetery, Amesbury<span class="tocright">       <a href="#whittier_lot">85</a></span></li>
+<li><span style="margin-left: 2em;"><small>From a photograph by W. R. Merryman.</small></span></li>
+
+<li>The Fountain on Mundy Hill<span class="tocright">       <a href="#fountain_mundy_hill">87</a></span></li>
+
+<li>Rocky Hill Church<span class="tocright">        <a href="#rocky_hill_church">88</a></span></li>
+<li><span style="margin-left: 2em;"><small>From a photograph by Miss Woodman.</small></span></li>
+
+<li>Interior of Rocky Hill Church<span class="tocright">        <a href="#interior_rocky_hill_church">89</a></span></li>
+<li><span style="margin-left: 2em;"><small>From a photograph by Miss Woodman.</small></span></li>
+
+<li>Scene of "The Wreck of Rivermouth"<span class="tocright">       <a href="#mouth_hampton_river">90</a></span></li>
+
+<li>Scene of "The Tent on the Beach"<span class="tocright">       <a href="#salisbury_beach_before_cottages">91</a></span></li>
+
+<li>Hampton River Marshes, as seen from Whittier's Chamber<span class="tocright">       <a href="#hampton_river_marshes">92</a></span></li>
+<li><span style="margin-left: 2em;"><small>From a photograph by Greenleaf Whittier Pickard.</small></span></li>
+
+<li>House of Miss Gove, Hampton Falls, Whittier on the Balcony<span class="tocright">       <a href="#house_miss_gove">93</a></span></li>
+<li><span style="margin-left: 2em;"><small>From a photograph taken a few days before the poet's death, by Greenleaf Whittier Pickard.</small></span></li>
+
+<li>Chamber in which Whittier Died<span class="tocright">       <a href="#chamber_died">94</a></span></li>
+
+<li>Amesbury Public Library<span class="tocright">       <a href="#amesbury_library">95</a></span></li>
+<li><span style="margin-left: 2em;"><small>From a photograph by Gilman P. Smith.</small></span></li>
+
+<li>Whittier, at the Age of Forty-nine<span class="tocright">       <a href="#whittier_49">97</a></span></li>
+<li><span style="margin-left: 2em;"><small>From a daguerreotype by Thomas E. Boutelle.</small></span></li>
+
+<li>The Wood Giant, at Sturtevant's, Centre Harbor<span class="tocright">       <a href="#wood_giant">99</a></span></li>
+
+<li>The Cartland House, Newburyport<span class="tocright">       <a href="#cartland_house">101</a></span></li>
+
+<li>Whitefield Church and Birthplace of Garrison<span class="tocright">      <a href="#whitefields_church">103</a></span></li>
+
+<li>Bearcamp House, West Ossipee, N. H.<span class="tocright">       <a href="#bearcamp_house">110</a></span></li>
+
+<li>Group of Friends at Sturtevant's, Centre Harbor, with Whittier<span class="tocright">       <a href="#group_sturtevants">113</a></span></li>
+
+<li>Josiah Bartlett Statue, Huntington Square, Amesbury<span class="tocright">        <a href="#josiah_bartlett_statue">123</a></span></li>
+<li><span style="margin-left: 2em;"><small>From a photograph by Charles W. Briggs.</small></span></li>
+</ul>
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_xii" id="Page_xii">[Pg xii]</a></span></p>
+<div class="figcenter" style="width: 600px;">
+<a name="map" id="map"></a>
+<a href="images/image221.png">
+<img src="images/image220.png" width="600" height="347" alt="MAP OF WHITTIER-LAND
+
+KEY:&mdash;
+
+
+1. The Whittier Birthplace.
+2. Joshua Coffin&#39;s School, in house now occupied by Thomas Guild.
+Scene of poem &quot;To My Old Schoolmaster.&quot;
+3. Site of District School. Scene of &quot;In School Days.&quot;
+4. Job&#39;s Hill.
+5. East Haverhill Church.
+6. Cemetery referred to in &quot;The Old Burying Ground.&quot;
+7. The Sycamores.
+8. Ramoth Hill.
+9. Hunting Hill.
+10. Grave of the Countess.
+11. Country Bridge.
+12. Site of Thomas Whittier&#39;s Log House.
+13. Birchy Meadow, where Whittier taught school.
+14. Home of Sarah Greenleaf.
+15. Home of Dr. Elias Weld and of the Countess, Rocks Village.
+16. &quot;Old Garrison,&quot; the Peaslee House.
+17. Rocks Bridge.
+18. Curson&#39;s Mill, Artichoke River.
+19. Pleasant Valley.
+20. The Laurels.
+21. Site of &quot;Goody&quot; Martin&#39;s House.
+22. Whittier Burial Lot, Union Cemetery.
+23. Macy House.
+24. The Captain&#39;s Well.
+25. Friends&#39; Meeting-House, Amesbury.
+26. Whittier Home, Amesbury.
+27. Hawkswood.
+28. Deer Island, Chain Bridge, home of Mrs. Spofford.
+29. Rocky Hill Church.
+30. The Fountain, Mundy Hill.
+31. House at Hampton Falls, where Whittier died.
+32. Scene of &quot;The Wreck of Rivermouth.&quot;
+33. Boar&#39;s Head.
+
+
+" title="MAP OF WHITTIER-LAND" />
+</a><span class="caption">MAP OF WHITTIER-LAND<br /><br />
+
+KEY:&mdash;<br /><br /></span></div>
+
+
+<div class="center">
+<table border="0" cellpadding="3" cellspacing="0" summary="map">
+<tr><td align="left">1. The Whittier Birthplace.</td></tr>
+<tr><td align="left">2. Joshua Coffin&#39;s School, in house now occupied by Thomas Guild. <br /><span style="margin-left: 1em;">Scene of poem &quot;To My Old Schoolmaster.&quot;</span></td></tr>
+<tr><td align="left">3. Site of District School. Scene of &quot;In School Days.&quot;</td></tr>
+<tr><td align="left">4. Job&#39;s Hill.</td></tr>
+<tr><td align="left">5. East Haverhill Church.</td></tr>
+<tr><td align="left">6. Cemetery referred to in &quot;The Old Burying Ground.&quot;</td></tr>
+<tr><td align="left">7. The Sycamores.</td></tr>
+<tr><td align="left">8. Ramoth Hill.</td></tr>
+<tr><td align="left">9. Hunting Hill.</td></tr>
+<tr><td align="left">10. Grave of the Countess.</td></tr>
+<tr><td align="left">11. Country Bridge.</td></tr>
+<tr><td align="left">12. Site of Thomas Whittier&#39;s Log House.</td></tr>
+<tr><td align="left">13. Birchy Meadow, where Whittier taught school.</td></tr>
+<tr><td align="left">14. Home of Sarah Greenleaf.</td></tr>
+<tr><td align="left">15. Home of Dr. Elias Weld and of the Countess, Rocks Village.</td></tr>
+<tr><td align="left">16. &quot;Old Garrison,&quot; the Peaslee House.</td></tr>
+<tr><td align="left">17. Rocks Bridge.</td></tr>
+<tr><td align="left">18. Curson&#39;s Mill, Artichoke River.</td></tr>
+<tr><td align="left">19. Pleasant Valley.</td></tr>
+<tr><td align="left">20. The Laurels.</td></tr>
+<tr><td align="left">21. Site of &quot;Goody&quot; Martin&#39;s House.</td></tr>
+<tr><td align="left">22. Whittier Burial Lot, Union Cemetery.</td></tr>
+<tr><td align="left">23. Macy House.</td></tr>
+<tr><td align="left">24. The Captain&#39;s Well.</td></tr>
+<tr><td align="left">25. Friends&#39; Meeting-House, Amesbury.</td></tr>
+<tr><td align="left">26. Whittier Home, Amesbury.</td></tr>
+<tr><td align="left">27. Hawkswood.</td></tr>
+<tr><td align="left">28. Deer Island, Chain Bridge, home of Mrs. Spofford.</td></tr>
+<tr><td align="left">29. Rocky Hill Church.</td></tr>
+<tr><td align="left">30. The Fountain, Mundy Hill.</td></tr>
+<tr><td align="left">31. House at Hampton Falls, where Whittier died.</td></tr>
+<tr><td align="left">32. Scene of &quot;The Wreck of Rivermouth.&quot;</td></tr>
+<tr><td align="left">33. Boar&#39;s Head.</td></tr>
+</table></div>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_1" id="Page_1">[Pg 1]</a></span></p>
+<h2><a name="HAVERHILL" id="HAVERHILL"></a><big>HAVERHILL</big></h2>
+<hr style="width: 65%;" />
+
+<p><span class="pagenum"><a name="Page_2" id="Page_2">[Pg 2]</a></span></p>
+
+<div class="figcenter" style="width: 598px;">
+<a name="whittiers_birthplace" id="whittiers_birthplace"></a>
+<img src="images/image002.jpg" width="598" height="600" alt="WHITTIER&#39;S BIRTHPLACE
+Copyright, 1891, by A. A. Ordway" title="WHITTIER&#39;S BIRTHPLACE
+Copyright, 1891, by A. A. Ordway" />
+<span class="caption">WHITTIER&#39;S BIRTHPLACE<br />
+<small>Copyright, 1891, by A. A. Ordway</small></span>
+</div>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_3" id="Page_3">[Pg 3]</a></span></p>
+<h2><big>WHITTIER-LAND</big></h2>
+
+<h2>I<br /><br />
+
+HAVERHILL</h2>
+
+
+<p>The whole valley of the Merrimac, from its source among
+the New Hampshire hills to where it meets the ocean at
+Newburyport, has been celebrated in Whittier's verse, and
+might well be called "Whittier-Land." But the object of
+these pages is to describe only that part of the valley included
+in Essex County, the northeastern section of Massachusetts.
+The border line separating New Hampshire
+from the Bay State is three miles north of the river, and
+follows all its turnings in this part of its course. For this
+reason each town on the north of the Merrimac is but
+three miles in width. It was on this three-mile strip that
+Whittier made his home for his whole life. His birthplace
+in Haverhill was his home for the first twenty-nine years
+of his life. He lived in Amesbury the remaining fifty-six
+years. The birthplace is in the East Parish of Haverhill,
+three miles from the City Hall, and three miles from what
+was formerly the Amesbury line. It is nearly midway
+between the New Hampshire line and the Merrimac
+River. In 1876 the township of Merrimac was formed
+out of the western part of Amesbury, and this new town is
+interposed between the two homes, which are nine miles
+apart.</p>
+
+<p>Haverhill, Merrimac, Amesbury, and Salisbury are each
+on the three-mile-wide ribbon of land stretching to the
+sea, on the left bank of the river. On the opposite bank
+are Bradford, Groveland, Newbury, and Newburyport.<span class="pagenum"><a name="Page_4" id="Page_4">[Pg 4]</a></span>
+The whole region on both sides of the river abounds in
+beautifully rounded hills formed of glacial deposits of
+clay and gravel, and they are fertile to their tops. At
+many points they press close to the river, which has worn
+its channel down to the sea-level, and feels the influence
+of the tides beyond Haverhill. This gives picturesque
+effects at many points. The highest of the hills have
+summits about three hundred and sixty feet above the
+surface of the river, and there are many little lakes and
+ponds nestling in the hollows in every direction. In the
+early days these hills were crowned with lordly growths of
+oak and pine, and some of them still retain these adornments.
+But most of the summits are now open pastures
+or cultivated fields. The roofs and spires of prosperous
+cities and villages are seen here and there among their
+shade trees, and give a human interest to the lovely landscape.
+It is not surprising that Whittier found inspiration
+for the beautiful descriptive passages which occur in every
+poem which has this river for theme or illustration:&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Stream of my fathers! sweetly still<br /></span>
+<span class="i0">The sunset rays thy valley fill;<br /></span>
+<span class="i0">Poured slantwise down the long defile,<br /></span>
+<span class="i0">Wave, wood, and spire beneath them smile."<br /></span>
+</div></div>
+
+<div class="figcenter" style="width: 588px;">
+<a name="river_path" id="river_path"></a>
+<img src="images/image005.jpg" width="588" height="600" alt="RIVER PATH" title="RIVER PATH" />
+<span class="caption">RIVER PATH</span>
+</div>
+
+<p>Here is a description of the scenery of the Merrimac
+valley by Mr. Whittier himself, in a review of Rev. P. S.
+Boyd's "Up and Down the Merrimac," written for a journal
+with which I was connected, and never reprinted until
+now:&mdash;</p>
+
+<div class="blockquot"><p>"The scenery of the lower valley of the Merrimac is
+not bold or remarkably picturesque, but there is a great
+charm in the panorama of its soft green intervales: its
+white steeples rising over thick clusters of elms and
+maples, its neat villages on the slopes of gracefully rounded
+hills, dark belts of woodland, and blossoming or fruited
+orchards, which would almost justify the words of one who<span class="pagenum"><a name="Page_5" id="Page_5">[Pg 5]</a></span>
+formerly sojourned on its banks, that the Merrimac is the
+fairest river this side of Paradise. Thoreau has immortalized
+it in his 'Week on the Concord and Merrimack
+Rivers.' The late Caleb Cushing, who was not by nature
+inclined to sentiment and enthusiasm, used to grow eloquent
+and poetical when he spoke of his native river.
+Brissot, the leader of the Girondists in the French Revolution,
+and Louis Philippe, who were familiar with its scenery,
+remembered it with pleasure. Anne Bradstreet, the
+wife of Governor Bradstreet, one of the earliest writers of
+verse in New England, sang of it at her home on its banks
+at Andover; and the lovely mistress of Deer Island, who
+sees on one hand the rising moon lean above the low sea<span class="pagenum"><a name="Page_6" id="Page_6">[Pg 6]</a></span>
+horizon of the east, and on the other the sunset reddening
+the track of the winding river, has made it the theme and
+scene of her prose and verse."</p></div>
+
+<div class="figcenter" style="width: 600px;">
+<a name="haverhill_academy" id="haverhill_academy"></a>
+<img src="images/image006.jpg" width="600" height="497" alt="HAVERHILL ACADEMY" title="HAVERHILL ACADEMY" />
+<span class="caption">HAVERHILL ACADEMY</span>
+</div>
+
+<p>The visitor who approaches Whittier-Land by the way
+of Haverhill will find in that city many places of interest
+in connection with the poet's early life, and referred to
+in his poems. The Academy for which he wrote the ode
+sung at its dedication in 1827, when he was a lad of nineteen,
+and before he had other than district school training,
+is now the manual training school of the city, and may be
+found, little changed except by accretion, on Winter Street,
+near the city hall. As this ode does not appear in any of
+his collected works, and is certainly creditable as a juvenile
+production, it is given here. It was sung to the air
+of "Pillar of Glory:"&mdash;</p>
+
+<p><span class="pagenum"><a name="Page_7" id="Page_7">[Pg 7]</a></span></p>
+<div class="poem"><div class="stanza">
+<span class="i0">Hail, Star of Science! Come forth in thy splendor,<br /></span>
+<span class="i1">Illumine these walls&mdash;let them evermore be<br /></span>
+<span class="i0">A shrine where thy votaries offerings may tender,<br /></span>
+<span class="i1">Hallowed by genius, and sacred to thee.<br /></span>
+<span class="i2">Warmed by thy genial glow,<br /></span>
+<span class="i2">Here let thy laurels grow<br /></span>
+<span class="i0">Greenly for those who rejoice at thy name.<br /></span>
+<span class="i2">Here let thy spirit rest,<br /></span>
+<span class="i2">Thrilling the ardent breast,<br /></span>
+<span class="i0">Rousing the soul with thy promise of fame.<br /></span>
+</div><div class="stanza">
+<span class="i0">Companion of Freedom! The light of her story,<br /></span>
+<span class="i1">Wherever her voice at thine altar is known<br /></span>
+<span class="i0">There shall no cloud of oppression come o'er thee,<br /></span>
+<span class="i1">No envious tyrant thy splendor disown.<br /></span>
+<span class="i2">Sons of the proud and free<br /></span>
+<span class="i2">Joyous shall cherish thee,<br /></span>
+<span class="i0">Long as their banners in triumph shall wave;<br /></span>
+<span class="i2">And from its peerless height<br /></span>
+<span class="i2">Ne'er shall thy orb of light<br /></span>
+<span class="i0">Sink, but to set upon Liberty's grave.<br /></span>
+</div><div class="stanza">
+<span class="i0">Smile then upon us; on hearts that have never<br /></span>
+<span class="i1">Bowed down 'neath oppression's unhallowed control.<br /></span>
+<span class="i0">Spirit of Science! O, crown our endeavor;<br /></span>
+<span class="i1">Here shed thy beams on the night of the soul;<br /></span>
+<span class="i2">Then shall thy sons entwine,<br /></span>
+<span class="i2">Here for thy sacred shrine,<br /></span>
+<span class="i0">Wreaths that shall flourish through ages to come,<br /></span>
+<span class="i2">Bright in thy temple seen,<br /></span>
+<span class="i2">Robed in immortal green,<br /></span>
+<span class="i0">Fadeless memorials of genius shall bloom.<br /></span>
+</div></div>
+
+<p>Haverhill, although but three miles wide, is ten miles
+long, and includes many a fertile farm out of sight of
+city spires, and out of sound of city streets. As Whittier
+says in the poem "Haverhill:"&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"And far and wide it stretches still,<br /></span>
+<span class="i0">Along its southward sloping hill,<br /></span>
+<span class="i0">And overlooks on either hand<br /></span>
+<span class="i0">A rich and many-watered land.<br /></span>
+</div><div class="stanza">
+<span class="i4"><b>.&nbsp;&nbsp;&nbsp;     .&nbsp;&nbsp;&nbsp;     .&nbsp;&nbsp;&nbsp;     .&nbsp;&nbsp;&nbsp;     .</b><br /></span>
+</div><span class="pagenum"><a name="Page_8" id="Page_8">[Pg 8]</a></span>
+<div class="stanza">
+<span class="i0">And Nature holds with narrowing space,<br /></span>
+<span class="i0">From mart and crowd, her old-time grace,<br /></span>
+<span class="i0">And guards with fondly jealous arms<br /></span>
+<span class="i0">The wild growths of outlying farms.<br /></span>
+</div><div class="stanza">
+<span class="i0">Her sunsets on Kenoza fall,<br /></span>
+<span class="i0">Her autumn leaves by Saltonstall<br /></span>
+<span class="i0">No lavished gold can richer make<br /></span>
+<span class="i0">Her opulence of hill and lake."<br /></span>
+</div></div>
+
+<div class="figcenter" style="width: 600px;">
+<a name="main_st_haverhill" id="main_st_haverhill"></a>
+<img src="images/image008.jpg" width="600" height="441" alt="MAIN STREET, HAVERHILL
+City Hall at the right; Haverhill Bridge in middle distance" title="MAIN STREET, HAVERHILL
+City Hall at the right; Haverhill Bridge in middle distance" />
+<span class="caption">MAIN STREET, HAVERHILL<br />
+<small>City Hall at the right; Haverhill Bridge in middle distance</small></span>
+</div>
+
+<p>This "opulence of hill and lake" is the especial charm
+of Haverhill. The two symmetrical hills, named Gold and
+Silver, near the river, one above and one below the city
+proper, are those referred to in "The Sycamores" as
+viewed by Washington with admiring comment, standing
+in his stirrups and</p>
+
+<div class="poem"><div class="stanza">
+<span class="i1">"Looking up and looking down<br /></span>
+<span class="i0">On the hills of Gold and Silver<br /></span>
+<span class="i1">Rimming round the little town."<br /></span>
+</div></div>
+
+<p><span class="pagenum"><a name="Page_9" id="Page_9">[Pg 9]</a></span></p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="birthplace_winter" id="birthplace_winter"></a>
+<img src="images/image009.jpg" width="600" height="451" alt="BIRTHPLACE IN WINTER
+From hemlocks above brook
+Copyright, 1891, by A. A. Ordway." title="BIRTHPLACE IN WINTER
+From hemlocks above brook
+Copyright, 1891, by A. A. Ordway." />
+<span class="caption">BIRTHPLACE IN WINTER<br />
+<small>From hemlocks above brook</small><br />
+<small>Copyright, 1891, by A. A. Ordway.</small></span>
+</div>
+
+<p><span class="pagenum"><a name="Page_10" id="Page_10">[Pg 10]</a></span></p>
+<p>Silver Hill is the one with the tower on it. As one takes
+at the railway station the electric car for the three-mile
+trip to the Whittier birthplace, two lakes are soon passed
+on the right. The larger one, overlooked by the stone
+castle on top of a great hill embowered in trees, is Kenoza&mdash;a
+name signifying pickerel. It was christened by
+Whittier with the poem which has permanently fixed its
+name. The whole lake and the beautiful wooded hills surrounding
+it, with the picturesque castle crowning one of
+them, are now included in a public park of which any city
+might be proud. Our car passes close at hand, on the left,
+another lake not visible because it is so much above
+us. This is a singular freak of nature&mdash;a deep lake fed
+by springs on top of a hill. The surface of this lake is
+far above the tops of most of the houses of Haverhill,
+and it is but a few rods from Kenoza, which lies almost
+a hundred feet below. Our road is at middle height between
+the two, and only a stone's throw from either.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="kenoza" id="kenoza"></a>
+<img src="images/image010.jpg" width="600" height="454" alt="KENOZA" title="KENOZA" />
+<span class="caption">KENOZA</span>
+</div>
+
+<hr style="width: 35%;" /><p><span class="pagenum"><a name="Page_11" id="Page_11">[Pg 11]</a></span></p>
+
+<div class="figcenter" style="width: 353px;">
+<a name="fernside_brook" id="fernside_brook"></a>
+<img src="images/image011.jpg" width="353" height="600" alt="FERNSIDE BROOK, THE STEPPING-STONES" title="FERNSIDE BROOK, THE STEPPING-STONES" />
+<span class="caption">FERNSIDE BROOK, THE STEPPING-STONES</span>
+</div>
+
+<p><span class="pagenum"><a name="Page_12" id="Page_12">[Pg 12]</a></span></p>
+<p>As we approach the birthplace, it is over the northern
+shoulder of Job's Hill, the summit of which is high above
+us at the right. This hill was named for an Indian chief
+of the olden time. We look down at the left into an idyllic
+valley, and through the trees that skirt a lovely brook
+catch sight of the ancient farmhouse on a gentle slope
+which seems designed by nature for its reception. To
+the west and south high hills crowd closely upon this
+valley, but to the east are green meadows through which
+winds, at last at leisure, the brook just released from its
+tumble among the rocks of old Job's left shoulder. The
+road by which we have come is comparatively new, and
+was not in existence when the Whittiers lived here. The
+old road crosses it close by the brook, which is here
+bridged. The house faces the brook, and not the road,
+presenting to the highway the little eastern porch that
+gives entrance to the kitchen,&mdash;the famous kitchen of
+"Snow-Bound."</p>
+
+<p>The barn is across the road directly opposite this porch.
+It is now much longer than it was in Whittier's youth, but
+two thirds of it towards the road is the old part to which
+the boys tunneled through the snowdrift&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i6">... "With merry din,<br /></span>
+<span class="i0">And roused the prisoned brutes within.<br /></span>
+<span class="i0">The old horse thrust his long head out,<br /></span>
+<span class="i0">And grave with wonder gazed about;<br /></span>
+<span class="i0">The cock his lusty greeting said,<br /></span>
+<span class="i0">And forth his speckled harem led<br /></span>
+<span class="i0">The oxen lashed their tails, and hooked,<br /></span>
+<span class="i0">And mild reproach of hunger looked;<br /></span>
+<span class="i0">The hornéd patriarch of the sheep,<br /></span>
+<span class="i0">Like Egypt's Amun roused from sleep,<br /></span>
+<span class="i0">Shook his sage head with gesture mute,<br /></span>
+<span class="i0">And emphasized with stamp of foot."<br /></span>
+</div></div>
+
+<p>This is not the original barn of the pioneers, but was
+built by Whittier's father and uncle Moses in 1821. The
+ancient barn was not torn down till some years later. It
+was in what is now the orchard back of the house. There<span class="pagenum"><a name="Page_14" id="Page_14">[Pg 14]</a></span>
+used to be, close to the cattle-yard of the comparatively
+new barn, a shop containing a blacksmith's outfit. This
+was removed more than fifty years ago, being in a ruinous
+condition from extreme old age. It had not been so
+tenderly cared for as was its contemporary of the Stuart
+times across the road.</p>
+
+
+<div class="figcenter" style="width: 600px;">
+<a name="birthplace_from_road" id="birthplace_from_road"></a>
+<img src="images/image013.jpg" width="600" height="396" alt="THE BIRTHPLACE, FROM THE ROAD
+Showing eastern porch, gate, bridle-post, and large boulder used as horse-block" title="THE BIRTHPLACE, FROM THE ROAD
+Showing eastern porch, gate, bridle-post, and large boulder used as horse-block" />
+<span class="caption">THE BIRTHPLACE, FROM THE ROAD<br />
+<small>Showing eastern porch, gate, bridle-post, and large boulder used as horse-block</small></span>
+</div>
+
+<p>Thomas Whittier, the pioneer, did not happen upon
+this valley upon his first arrival from England, in 1638.
+Indeed, at that time the settlements had not reached into
+this then primeval wilderness. He settled first in that
+part of Salisbury which is now named Amesbury, and
+while a very young man represented that town in the
+General Court. The Whittier Hill which overlooks the
+poet's Amesbury home was named for the pioneer, and
+not for his great-great-grandson. It is to this day called
+by Amesbury people Whitcher Hill&mdash;as that appears to
+have been the pronunciation of the name in the olden
+time. For some reason he removed across the river to
+Newbury. As a town official of Salisbury, he had occasion
+to lay out a highway towards Haverhill&mdash;a road still
+in use. He came upon a location that pleased his fancy,
+and in 1647, at the age of twenty-seven, he returned to
+the northern side of the river and built a log house on the
+left bank of Country Brook, about a mile from the location
+he selected in 1688 for his permanent residence. He
+lived forty-one years in this log house, and here raised a
+family of ten children, five of them stalwart boys, each
+over six feet in height. He was sixty-eight years old when
+he undertook to build the house now the shrine visited
+yearly by thousands. In raising its massive oaken frame
+he needed little help outside his own family. As to the
+location of the log house, the writer of these pages visited
+the spot with Mr. Whittier in search of it in 1882. He
+said that when a boy he used to see traces of its foundation,
+and hoped to find them again; but more than half a
+century had passed in the mean time, and our search was
+unsuccessful. It was on the ridge to the left of the road,
+quite near the old Country Bridge.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="haunted_bridge" id="haunted_bridge"></a>
+<img src="images/image015.jpg" width="600" height="490" alt="THE HAUNTED BRIDGE OF COUNTRY BROOK" title="THE HAUNTED BRIDGE OF COUNTRY BROOK" />
+<span class="caption">THE HAUNTED BRIDGE OF COUNTRY BROOK</span>
+</div>
+
+<p><span class="pagenum"><a name="Page_15" id="Page_15">[Pg 15]</a></span></p>
+<p>Country Bridge had the reputation of being haunted,
+when Whittier was a boy, and several of his early uncollected
+poems refer to this fact. No one who could
+avoid it ventured over it after dark. He told me that
+once he determined to swallow his fears and brave the
+danger. He approached whistling to keep his courage
+up, but a panic seized him, and he turned and ran home
+without daring to look behind. It was in this vicinity
+that Thomas Whittier built his first house in Haverhill.
+Further down the stream was Millvale, where were three
+mills, one a gristmill. This mill and the evil reputation
+of the bridge are both referred to in these lines from
+"The Home-Coming of the Bride," a fragment first
+printed in "Life and Letters:"&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"They passed the dam and the gray gristmill,<br /></span>
+<span class="i1">Whose walls with the jar of grinding shook,<br /></span>
+<span class="i0">And crossed, for the moment awed and still,<br /></span>
+<span class="i1">The haunted bridge of the Country Brook."<br /></span>
+</div></div>
+
+<p><span class="pagenum"><a name="Page_16" id="Page_16">[Pg 16]</a></span></p>
+<p>It was the custom of the pioneers, when they had the
+choice, to select the sites of their homes near the small
+water powers of the brooks; the large rivers they had
+not then the power to harness. There were good mill sites
+on Country Brook below the log house, but probably
+some other settler had secured them, and Thomas Whittier
+found in the smaller stream on his own estate a fairly
+good water power. Fernside Brook is a tributary of Country
+Brook. Probably this decided the selection of the
+site for a house which was to be a home for generation
+after generation of his descendants. The dam recently
+restored is at the same spot where stood the Whittier mill,
+and in making repairs some of the timbers of the ancient
+mill were found. Parts of the original walls of the dam
+are now to be seen on each side of the brook, but the
+mill had disappeared long before Whittier was born.
+Further up the brook were two other dams, used as reservoirs.
+The lower dam when perfect was high enough
+to enable the family to bring water to house and barn in
+pipes.</p>
+
+<p>When entering the grounds, notice the "bridle-post"
+at the left of the gate, and a massive boulder in which
+rude steps are cut for mounting a horse led up to its
+side:&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"The bridle-post an old man sat<br /></span>
+<span class="i0">With loose-flung coat and high cocked hat."<br /></span>
+</div></div>
+
+<p>Like all of Whittier's descriptions, this is an exact picture
+of what he had in mind; for this stone, after a great
+snowstorm, would assume just this appearance. As to the
+phrase, "the well-curb had a Chinese roof," I once asked
+him how this well could have had a roof, as the "long
+sweep high aloof" would have interfered with it. He
+stood by the side of the well, and explained that there
+was no roof, but that there was a shelf on one side of the
+curb on which to rest the bucket. The snow piled up on
+this like a Chinese roof. The isolation of the homestead<span class="pagenum"><a name="Page_17" id="Page_17">[Pg 17]</a></span>
+referred to in the phrase, "no social smoke curled over
+woods of snow-hung oak," has not been broken in either
+of the centuries this house has stood. No other house
+was ever to be seen from it in any direction. And yet
+neighbors are within a half-mile, only the hills and forests
+hide their habitations from view. When the wind is right,
+the bells of Haverhill may be faintly heard, and the roar
+of ocean after a storm sometimes penetrates as a hoarse
+murmur in this valley.</p>
+
+<p>In the old days, before these hills were robbed of the
+oaken growths that crowned their summits, their apparent
+height was much increased, and the isolation rendered
+even more complete than now. Sunset came much
+earlier than it did outside this valley. The eastern hill,
+beyond the meadow, is more distant and not so high, and
+so the sunrises are comparatively early. Visitors interested
+in geology will find this hill an unusually good
+specimen of an eschar, a long ridge of glacial gravel set
+down in a meadow through which Fernside Brook curves
+on its way to its outlet in Country Brook. Job's Hill at
+the south rises so steeply from the right bank of Fernside
+Brook, at the foot of the terraced slope in front of the
+house, that it is difficult for many rods to get a foothold.
+The path by which the hill was scaled and the stepping-stones
+by which the brook was crossed are accurately
+sketched in the poem "Telling the Bees,"&mdash;a poem, by
+the way, which originally had "Fernside" for its title:&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Here is the place; right over the hill<br /></span>
+<span class="i1">Runs the path I took;<br /></span>
+<span class="i0">You can see the gap in the old wall still,<br /></span>
+<span class="i1">And the stepping-stones in the shallow brook."<br /></span>
+</div></div>
+
+<p>Visitors should read the stanzas immediately following
+this, and note the exactness of the poet's description of
+the homestead he had in mind. The poem was written
+more than twenty years after he left Haverhill, and it
+was many years after that when Mr. Alfred Ordway, in<span class="pagenum"><a name="Page_18" id="Page_18">[Pg 18]</a></span>
+taking photographs of the place, noticed that it had already
+been pictured in verse; when he spoke of it to
+Mr. Whittier, the poet was both surprised and pleased at
+this, which, he said, was the first recognition of his birthplace.
+The public is indebted to Mr. Ordway for many
+other discoveries of the same kind, illustrating Whittier's
+minute fidelity to nature in his descriptions of scenery.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="garden_at_birthplace" id="garden_at_birthplace"></a>
+<img src="images/image018.jpg" width="600" height="470" alt="GARDEN AT BIRTHPLACE" title="GARDEN AT BIRTHPLACE" />
+<span class="caption">GARDEN AT BIRTHPLACE</span>
+</div>
+
+<p>Let us enter the house by the eastern porch, noting
+the circular door-stone, which was the millstone that
+ground the grain of the pioneers, more than a century
+before Whittier was born. It belonged in the mill on the
+brook to which reference has been made. The fire which
+destroyed the roof of the house in November, 1902, did
+not injure this porch, and there were other parts of the
+house which were scarcely scorched. These are the original
+walls, and the handiwork of the pioneers is exactly
+copied in whatever had to be restored. This was made
+possible by photographs that had been kept, showing the<span class="pagenum"><a name="Page_19" id="Page_19">[Pg 19]</a></span>
+width and shape of every board and moulding, inside
+and outside the house. Here again it is Mr. Ordway, president
+of the board of trustees having the birthplace in
+charge, who is to be especially thanked. It is proper
+here, as I have spoken of the fire, to mention the heroic
+work of the custodian, Mrs. Ela, and others, who saved
+every article of the precious souvenirs endangered by the
+fire, so that nothing was lost.</p>
+
+<p>The kitchen, which occupies nearly the whole northern
+side of the house, is twenty-six feet long and sixteen
+wide. The visitor's attention is usually first drawn to the
+great fireplace in the centre of its southern side. The central
+chimney was built by the pioneer more than two centuries
+ago, and it has five fireplaces opening into it. The
+bricks of the kitchen hearth are much worn, as might be
+expected from having served so many generations as the
+centre of their home life. It was around this identical
+hearth that the family was grouped, as sketched in the
+great poem which has consecrated this room, and made
+it a shrine toward which the pilgrims of many future generations
+will find their way. Here was piled&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"The oaken log, green, huge and thick,<br /></span>
+<span class="i0">And on its top the stout back-stick;<br /></span>
+<span class="i0">The knotty forestick laid apart,<br /></span>
+<span class="i0">And filled between with curious art<br /></span>
+<span class="i0">The ragged brush; then, hovering near,<br /></span>
+<span class="i0">We watched the first red blaze appear,<br /></span>
+<span class="i0">Heard the sharp crackle, caught the gleam<br /></span>
+<span class="i0">On whitewashed wall and sagging beam,<br /></span>
+<span class="i0">Until the old, rude-furnished room<br /></span>
+<span class="i0">Burst, flower-like, into rosy bloom."<br /></span>
+</div></div>
+
+<p>Here on these very bricks simmered the mug of cider and
+the "apples sputtered in a row," while through these
+northern windows the homely scene was repeated on the
+sparkling drifts in mimic flame. The table now standing
+between these windows is the same that then stood there,
+and many of the dishes on the shelves near by are the<span class="pagenum"><a name="Page_20" id="Page_20">[Pg 20]</a></span>
+family heirlooms occupying their old places. Two of these
+pieces of china were brought here by Sarah Greenleaf,
+Whittier's grandmother. The bull's-eye watch over the
+mantel is a fine specimen of the olden time, and hangs
+on the identical nail from which uncle Moses nightly suspended
+his plump timepiece.</p>
+
+<p>But perhaps the article which is most worthy of attention
+in this room is the desk at the eastern corner. This
+was the desk of Joseph Whittier, great-grandfather of the
+poet, and son of the pioneer. On the backs and bottoms
+of the drawers of this desk are farm memoranda made
+with chalk much more than a century ago. One item
+dated in 1798 records that the poet's father made his
+last excursion to Canada in that year. It was about a
+century old when the boy Whittier scribbled his first
+rhymes upon it. By an interesting coincidence he also,
+in his eighty-fifth year, wrote his very last poem upon it.
+When the family removed to Amesbury, in 1836, this
+desk was taken with them, but soon after was replaced
+by a new one, and this went "out of commission." The
+new desk was the one on which "Snow-Bound" was written,
+and this may now be seen at Amesbury. When Mr.
+Whittier's niece was married, he gave her this old desk,
+which she took to Portland, where it was thoroughly repaired.
+When he visited Portland, he wrote many letters
+and some poems on it. In the summer of 1891, as her
+uncle proposed to make his home with his cousins, the
+Cartlands, in Newburyport, his niece had this ancient
+desk sent there. Mr. Whittier was greatly pleased, upon
+his arrival, to find in his room the heirloom which was
+hallowed by so many associations connected not only
+with his ancestry, but with his own early life. Nearly all
+of the literary work of his last year was done upon this
+desk. To his niece he wrote:&mdash;</p>
+
+<p>"I am writing at the old desk, which Gertrude has
+placed in my room, but it seems difficult to imagine myself
+the boy who used to sit by it and make rhymes. It<span class="pagenum"><a name="Page_22" id="Page_22">[Pg 22]</a></span>
+is wonderfully rejuvenated, and is a handsome piece of
+furniture. It was the desk of my great-grandfather, and
+seemed to me a wretched old wreck when thee took it to
+Portland. I did not suppose it could be made either useful
+or ornamental. I wrote my first pamphlet on slavery,
+'Justice and Expediency,' upon it, as well as a great
+many rhymes which might as well have never been written.
+I am glad that it has got a new lease of life."</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="kitchen_in_birthplace" id="kitchen_in_birthplace"></a>
+<img src="images/image021.jpg" width="600" height="382" alt="KITCHEN IN BIRTHPLACE
+Copyright, 1891, by A. A. Ordway" title="KITCHEN IN BIRTHPLACE
+Copyright, 1891, by A. A. Ordway" />
+<span class="caption">KITCHEN IN BIRTHPLACE<br />
+<small>Copyright, 1891, by A. A. Ordway</small></span>
+</div>
+
+<p>The little room at the western end of the kitchen was
+"mother's room," its floor two steps higher than that of
+the larger room, for a singular reason. In digging the
+cellar the pioneer found here a large boulder it was inconvenient
+to remove, and wishing a milk room at this
+corner, he was obliged to make its floor two steps higher
+than the rest of the cellar. This inequality is reproduced
+in each story. In this little room the bed is furnished
+with the blankets and linen woven by Whittier's mother
+on the loom that used to stand in the open chamber. Her
+initials "A. H." on some of the pieces show that they
+date back to her life in Somersworth, N. H. On the wall
+of this room may be seen the baby-clothes of Whittier's
+father, made by the grandmother who brought the name
+of Greenleaf into the family. The bureau in this room is
+the one that stood there in the olden time. The little
+mirror that stands on it is the one by which Whittier
+shaved most of his life. He used it at Amesbury, and
+possibly his father used it before him at Haverhill.</p>
+
+<p>Mr. Whittier had a great fund of stories of the supernatural
+that were current in this neighborhood in his
+youth, and one that had this very kitchen for its scene,
+he told with much impressiveness. It was the story of his
+aunt Mercy&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"The sweetest woman ever Fate<br /></span>
+<span class="i0">Perverse denied a household mate."<br /></span>
+</div></div>
+
+<p>It was out of this window in the kitchen that she saw the
+horse and its rider coming down the road, and recognized<span class="pagenum"><a name="Page_23" id="Page_23">[Pg 23]</a></span>
+the young man to whom she was betrothed. It was out of
+this window in the porch that she saw them again, as she
+went to the door to welcome her lover. It was this door
+she opened, to find no trace of horse or rider. It was to
+this little room at the other end of the kitchen that she
+went, bewildered and terrified, to waken her sister, who
+tried in vain to pacify her by saying she had been dreaming
+by the fire, when she should have been in bed. And it
+was in this room she received the letter many days later
+telling her of the death of her lover in a distant city at
+the hour of her vision.<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a> Mr. Whittier told such stories with
+the air of more than half belief in their truth, especially
+in his later years, when he became interested in the researches
+of scientists in the realm of telepathy. He said
+his aunt was the most truthful of women, and she never
+doubted the reality of her vision.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="western_end_of_kitchen" id="western_end_of_kitchen"></a>
+<img src="images/image023.jpg" width="600" height="385" alt="WESTERN END OF KITCHEN
+View of &quot;mother&#39;s room;&quot; the poet was born in a room at the left, beyond the fireplace
+Copyright 1891, by A. A. Ordway" title="WESTERN END OF KITCHEN
+View of &quot;mother&#39;s room;&quot; the poet was born in a room at the left, beyond the fireplace
+Copyright 1891, by A. A. Ordway" />
+<span class="caption">WESTERN END OF KITCHEN<br />
+<small>View of &quot;mother&#39;s room;&quot; the poet was born in a room at the left, beyond the fireplace</small><br />
+<small>Copyright 1891, by A. A. Ordway</small></span>
+</div>
+
+<p>The door at the southwestern corner of the kitchen<span class="pagenum"><a name="Page_24" id="Page_24">[Pg 24]</a></span>
+opens into the room in which the poet was born. This
+was the parlor, but as the Friends were much given to
+hospitality, it was often needed as a bedroom, and there
+was in it a bedstead that could be lifted from the floor
+and supported by a hook in the ceiling when not in use.
+In the corners are cabinets containing articles of use and
+ornament that are genuine relics of the Whittier family.
+The inlaid mahogany card-table between the front windows
+was brought to this house just a century ago (1804)
+by Abigail Hussey, the bride of John Whittier, and placed
+where it now stands. Like the desk in the kitchen, it has
+always been in the possession of the family, and was restored
+to the birthplace by the niece to whom Whittier
+gave it. In this room are several books that belonged in
+the small library of Whittier's father, which are mentioned
+in "Snow-Bound," and described more fully in the rhymed
+catalogue, a part of which appears in "Life and Letters,"
+p. 46. I here give the full list copied from Whittier's manuscript,
+for which I am indebted to Miss Sarah S. Thayer,
+daughter of Abijah W. Thayer, who edited the "Haverhill
+Gazette," and with whom Whittier boarded while in the
+Academy. Mr. Thayer had appended to the manuscript
+these words: "This was deposited in my hands about
+1828, by John G. Whittier, who assured me that it was
+his first effort at versification. It was written in 1823 or
+1824, when Whittier was fifteen or sixteen years old."</p>
+
+
+<div class="poem"><div class="title">
+NARRATIVES</div>
+
+<div class="stanza">
+<span class="i0">How Captain Riley and his crew<br /></span>
+<span class="i0">Were on Sahara's desert threw.<br /></span>
+<span class="i0">How Rollins to obtain the cash<br /></span>
+<span class="i0">Wrote a dull history of trash.<br /></span>
+<span class="i0">O'er Bruce's travels I have pored,<br /></span>
+<span class="i0">Who the sources of the Nile explored.<br /></span>
+<span class="i0">Malcolm of Salem's narrative beside,<br /></span>
+<span class="i0">Who lost his ship's crew, unless belied.<br /></span>
+<span class="i0">How David Foss, poor man, was thrown<br /></span>
+<span class="i0">Upon an island all alone.<br /></span>
+</div></div>
+
+<p><span class="pagenum"><a name="Page_25" id="Page_25">[Pg 25]</a></span></p>
+<div class="poem"><div class="title">
+RELIGIOUS</div>
+
+<div class="stanza">
+<span class="i0">The Bible towering o'er the rest,<br /></span>
+<span class="i0">Of all the other books the best.<br /></span>
+<span class="i0">Old Father Baxter's pious call<br /></span>
+<span class="i0">To the unconverted all.<br /></span>
+<span class="i0">William Penn's laborious writing,<br /></span>
+<span class="i0">And the books 'gainst Christians fighting.<br /></span>
+<span class="i0">Some books of sound theology,<br /></span>
+<span class="i0">Robert Barclay's "Apology."<br /></span>
+<span class="i0">Dyer's "Religion of the Shakers,"<br /></span>
+<span class="i0">Clarkson's also of the Quakers.<br /></span>
+<span class="i0">Many more books I have read through&mdash;<br /></span>
+<span class="i0">Bunyan's "Pilgrim's Progress" too.<br /></span>
+<span class="i0">A book concerning John's baptism,<br /></span>
+<span class="i0">Elias Smith's "Universalism."<br /></span>
+</div></div>
+
+<div class="poem"><div class="title">
+JOURNALS, LIVES, &amp;c.</div>
+
+<div class="stanza">
+<span class="i0">The Lives of Franklin and of Penn,<br /></span>
+<span class="i0">Of Fox and Scott, all worthy men.<br /></span>
+<span class="i0">The Lives of Pope, of Young and Prior,<br /></span>
+<span class="i0">Of Milton, Addison, and Dyer;<br /></span>
+<span class="i0">Of Doddridge, Fénelon and Gray,<br /></span>
+<span class="i0">Armstrong, Akenside, and Gay.<br /></span>
+<span class="i0">The Life of Burroughs, too, I've read,<br /></span>
+<span class="i0">As big a rogue as e'er was made;<br /></span>
+<span class="i0">And Tufts, who, I will be civil,<br /></span>
+<span class="i0">Was worse than an incarnate devil.<br /></span>
+<span class="i6">&mdash;Written by John G. Whittier.<br /></span>
+</div></div>
+
+<p>The books of this library now to be seen are the "Life
+of George Fox," in two leather-bound volumes, printed in
+London, 1709, Sewel's "Painful History," printed in 1825,
+Ellwood's "Drab-Skirted Muse," Philadelphia edition of
+1775, and Thomas Clarkson's "Portraiture of Quakerism,"
+New York edition of 1806.</p>
+
+<p>The little red chest near the fireplace is an ancient relic
+of the family, formerly used for storing linen. The portrait
+of Whittier over the fireplace is enlarged from a
+miniature painted by J. S. Porter about 1830, and it is
+the earliest likeness of the poet ever taken. The original<span class="pagenum"><a name="Page_26" id="Page_26">[Pg 26]</a></span>
+miniature may be seen at the Amesbury home. The large
+portrait on the opposite side of the room was painted
+by Joseph Lindon Smith, an artist of celebrity, who is a
+relative of Whittier's. Portraits of Whittier's brother,
+his sisters, his mother, and his old schoolmaster, Joshua
+Coffin, are shown in this room. The silhouette on the
+mantelpiece is of aunt Mercy, his mother's unmarried
+sister. A sampler worked by Lydia Aver, the girl commemorated
+in the poem "In School Days," is exhibited
+in this room. She was a member of the family who were
+the nearest neighbors of the Whittiers&mdash;a family still
+represented in their ancient homestead, where her grandniece
+now lives. She died at the age of fourteen.</p>
+
+<p>It was the privilege of the writer to accompany Mr.
+Whittier when he made his last visit to his birthplace, in
+late October, 1882. When in this birth-room, he expressed
+a wish to see again a fire upon its hearth, not for warmth,
+for it was a warm day, but for the sentiment of it. The
+elderly woman who had charge of the house said she
+would have a fire built, and in the mean time we went
+down to the brook, intending to cross by the stepping-stones
+he had so often used. But the brook was running
+full, the stepping-stones were slippery, and Mr. Whittier
+reluctantly gave up crossing. Then we visited the little
+burying-ground of the family, where lie the remains of his
+ancestors. When we returned to the parlor, we found
+the good woman had brought down a sheet-iron air-tight
+stove from the attic, set it in the fireplace, and there was
+a crackling fire in it! I suggested that we could easily
+remove the stove and have a blaze on the hearth, but
+Mr. Whittier at once negatived the proposition, saying
+we must not let the woman know we were disappointed.
+She had taken much pains to please us, and must not be
+made aware of her mistake. He was always ready to
+suffer inconvenience rather than wound the sensibilities
+of any one.</p>
+
+<p>From the back entry at the western end of the kitchen<span class="pagenum"><a name="Page_27" id="Page_27">[Pg 27]</a></span>
+ascends the steep staircase down which Whittier, when an
+infant, was rolled by his sister Mary, two years older than
+he. She thought if he were well wrapped in a blanket he
+would not be harmed, and the experiment proved quite
+successful, thanks to her abundant care in bundling him
+in many folds. He happily escaped one other peril in his
+infancy. His parents took him with them on a winter
+drive to Kingston, N. H. To protect him from the cold,
+he was wrapped too closely in his blankets, and he came
+so near asphyxiation that for a time he was thought to be
+dead. He was taken into a farmhouse they were passing
+when the discovery was made, and after a long and anxious
+treatment they were delighted to find he was living.</p>
+
+<p>The rooms in the upper part of the house injured by
+the recent fire have been perfectly restored to their original
+condition. At Whittier's last visit here he went into
+every room, and told stories of the happenings of his youth
+in each. At the head of the back stairs is a little doorless
+press, which he pointed out as a favorite play-place of
+his and his brother's. Here they found room for their
+few toys, as perhaps three generations of Whittier children
+had done before them. And it is not unlikely that
+some of their toys had amused the youth of their grandfather.
+One of his earliest memories is connected with
+this little closet, for here he had his first severe twinge of
+conscience. He had told a lie&mdash;no doubt a white one,
+for it did not trouble him at first&mdash;and soon after was
+watching the rising of a thunder-cloud that was grumbling
+over the great trees on the western hill near at hand. A
+bolt descended among the oaks, and the deafening explosion
+was instantaneous. He saw in it an exhibition of
+divine wrath over his sin, and obeyed the primal instinct
+to hide himself. His mother, searching for him some time
+after the storm had passed, found her repentant little
+boy almost smothered under a quilt in this closet, and as
+he confessed his sin, he was tenderly shrived. Here in
+the open chamber the brothers often slept when visitors<span class="pagenum"><a name="Page_28" id="Page_28">[Pg 28]</a></span>
+claimed the little western chamber they usually occupied.
+They would sometimes find, sifted through cracks in the
+old walls, a little snowdrift on their quilt. The small
+western room the boys called theirs was the scene of the
+story Trowbridge has so neatly versified. The elder proposed
+that as they could lift each other, by lifting in turn
+they could rise to the ceiling, and there was no knowing
+how much further if they were out of doors! The prudent
+lads, to make it easy in case of failure, stood upon
+the bed in this little room. Trowbridge says:&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Kind Nature smiled on that wise child,<br /></span>
+<span class="i1">Nor could her love deny him<br /></span>
+<span class="i0">The large fulfilment of his plan;<br /></span>
+<span class="i0">Since he who lifts his brother man<br /></span>
+<span class="i1">In turn is lifted by him."<br /></span>
+</div></div>
+
+<p>Boys were boys in those days, and Whittier told us of trying
+to annoy his younger sister by pretending to hang
+her cat on this railing to the attic stairs. And girls were
+girls too; for he told of Elizabeth's frightening two hired
+men who were occupying the open chamber. They had
+been telling each other ghost stories after they went to
+bed; but both asserted that they could not be frightened
+by such things. From over the door of her room Elizabeth
+began throwing pins, one at a time, so that they
+would strike on the floor near the brave men. They were
+so frightened they would not stay there another night. In
+the open attic bunches of dried herbs hung from the rafters,
+and traces of corn selected for seed. On the floor the
+boys spread their store of nuts "from brown October's
+wood." Originally the northern side of the roof sloped
+down to the first story, as was the fashion in the days of
+the Stuarts. But some years before Whittier's birth this
+side of the roof was raised, giving much additional chamber
+room.</p>
+
+<p>Not far from the house, at the foot of the western hill,
+is the small lot inclosed by a stone wall, to which reference<span class="pagenum"><a name="Page_29" id="Page_29">[Pg 29]</a></span>
+has been made, that from the earliest settlement was
+the burying-place of the family. Here lie the remains of
+Thomas Whittier and those of his descendants who were
+the ancestors of the poet. A plain granite shaft in the
+centre of the lot is inscribed with the names of Thomas
+Whittier and of Ruth Green, his wife; Joseph Whittier
+and Mary Peaslee, his wife; Joseph Whittier, 2d, and
+Sarah Greenleaf, his wife. No headstones mark the several
+graves. Others of the family were buried here, including
+Mary Whittier, an aunt of the poet. His father
+and uncle Moses, originally buried here, were removed to
+the Amesbury cemetery, when his mother died, in 1857.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="whittier_elm" id="whittier_elm"></a>
+<img src="images/image029.jpg" width="600" height="517" alt="THE WHITTIER ELM" title="THE WHITTIER ELM" />
+<span class="caption">THE WHITTIER ELM</span>
+</div>
+
+<p>Across the road from the house of the nearest neighbors,
+the Ayers, in a field of the Whittier farm, is an old,
+immense, and symmetrical tree, labeled "The Whittier<span class="pagenum"><a name="Page_30" id="Page_30">[Pg 30]</a></span>
+Elm," which the poet's schoolmate, Edmund Ayer, saved
+from the woodman's axe by paying an annual tribute, at a
+time when the farm had gone out of the possession of the
+Whittiers, and while the new proprietors were intent upon
+despoiling the place of its finest trees. This is the tree
+referred to in these lines, written in 1862, in the album
+of Lydia Amanda Ayer (now Mrs. Evans), his schoolmate
+Lydia's niece:&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"A dweller where my infant eyes<br /></span>
+<span class="i0">Looked out on Nature's sweet surprise,<br /></span>
+<span class="i0">Whose home is in the ample shade<br /></span>
+<span class="i0">Of the old Elm Tree where I played,<br /></span>
+<span class="i0">Asks for her book a word of mine:&mdash;<br /></span>
+<span class="i0">I give it in a single line:<br /></span>
+<span class="i0">Be true to Nature and to Heaven's design!"<br /></span>
+</div></div>
+
+<p>Whittier took us that October day to neighbor Ayer's
+house, where the brother of little Lydia was still living,
+who also was a schoolmate of the poet, and they talked
+of the old times with the greatest relish. The Ayer house
+occupies the site of a garrison house, built of strong oaken
+timbers, and used as a house of refuge in the time of the
+Indian wars. The Whittiers, though close at hand, never
+availed themselves of its protection, even when Indian
+faces covered with war-paint peered through the kitchen
+windows upon the peaceful Quaker family. We were soon
+joined by another aged schoolmate, Aaron Chase, and
+with him we went to Corliss Hill, where Whittier showed
+us the two houses in which he first went to school. They
+are both now standing, and are dwelling-houses in each
+of which a room was given up for the district school&mdash;one
+before the house described in "In School Days" was
+built, and the other while it was being repaired. He had
+not yet arrived at school age when his sister Mary took
+him to his first school, kept by his life-long friend, Joshua
+Coffin, to whom he addressed the poem, "To My Old
+Schoolmaster." As I happened to be a nephew of Coffin,
+he told me stories of his first school. It was kept in an<span class="pagenum"><a name="Page_31" id="Page_31">[Pg 31]</a></span>
+unfinished ell of a farmhouse; but the room had been
+transformed into a neatly furnished kitchen when we visited
+it. In the poem referred to he alludes to the quarrels
+of the good man and his tipsy wife heard through "the
+cracked and crazy wall." He told this story of the tipsy
+wife: She sent her son for brush to heat her oven. He
+brought such a nice load that she thought it too bad to
+waste it in the oven. So she sent her son with it to the<span class="pagenum"><a name="Page_32" id="Page_32">[Pg 32]</a></span>
+grocery, and he brought back the liquor he received in
+payment. But this made her short of oven wood, and to
+eke out her supply of fuel she burned a loose board of the
+cellar stairs. The next time she had occasion to go to
+the cellar, she forgot the hiatus she had made and broke
+her leg. After Mr. Chase left us, Whittier told me that his
+old schoolmate was a nephew of the last person usually
+accounted a witch in this neighborhood. She was the wife
+of Moses Chase of Rocks Village. Her relatives believed
+her a witch, and one of her nieces knocked her down in
+the shape of a persistent bug that troubled her. At that
+moment it happened that the old woman fell and hurt her
+head. The old lady on one occasion went before Squire
+Ladd, the blacksmith and Justice of the Peace at the
+Rocks, and took her oath that she was not a witch.</p>
+
+<div class="figcenter" style="width: 313px;">
+<a name="joshua_coffin" id="joshua_coffin"></a>
+<img src="images/image031.jpg" width="313" height="450" alt="JOSHUA COFFIN
+
+
+
+&quot;Olden teacher, present friend,
+Wise with antiquarian search,
+In the scrolls of State and Church;
+Named on history&#39;s title-page,
+Parish-clerk and justice sage.&quot;
+
+To My Old Schoolmaster
+" title="JOSHUA COFFIN
+
+
+
+&quot;Olden teacher, present friend,
+Wise with antiquarian search,
+In the scrolls of State and Church;
+Named on history&#39;s title-page,
+Parish-clerk and justice sage.&quot;
+
+To My Old Schoolmaster
+" />
+<span class="caption">JOSHUA COFFIN<br />
+
+<span class="poem"><span class="stanza">
+<small><span class="i4">&quot;Olden teacher, present friend,<br /></span>
+<span class="i4">Wise with antiquarian search,<br /></span>
+<span class="i4">In the scrolls of State and Church;<br /></span>
+<span class="i4">Named on history&#39;s title-page,<br /></span>
+<span class="i4">Parish-clerk and justice sage.&quot;<br /></span>
+<span class="i8 smcap">To My Old Schoolmaster<br /></span>
+</small></span></span>
+</span></div>
+
+<p>We next visited the scene of "In School Days," and
+found some traces of the schoolhouse that have since
+been obliterated, although a tablet now marks its site.
+The door-stone over which the scholars "went storming
+out to playing" was still there, and some of the foundation
+stones were in place. "Around it still the sumachs"
+were growing, and blackberry vines were creeping. Mr.
+Whittier gathered a handful of the red sumach, and took
+it to Amesbury with him. It remained many days in a
+vase in his "garden room." Speaking of his boyhood, he
+said he was always glad when it came his turn to stay at
+home on First Day. The chaise, driven to Amesbury&mdash;nine
+miles&mdash;every First and Fifth Day, fortunately was
+not of a capacity to take the whole family at once. This
+gave him an occasional opportunity, much enjoyed, to
+spend the day musing by the brook, or in the shade of
+the oaks and hemlocks on the breezy hilltops, which commanded
+a view unsurpassed for beauty. These hills, which
+so closely encompass the ancient homestead at the west
+and south, are among the highest in the county. From
+them one gets glimpses of the ocean in Ipswich Bay, the
+undulating hills of Newbury, cultivated to their tops, on the<span class="pagenum"><a name="Page_33" id="Page_33">[Pg 33]</a></span>
+further side of the Merrimac, the southern ranges of the
+New Hampshire mountains, and the heights of Wachusett
+and Monadnock in Massachusetts. Po Hill, in Amesbury,
+under which stands the Quaker meeting-house where
+his parents worshiped, shows its great round dome in
+the east. He never tired of these views, and celebrated
+them in many of his poems. He especially dreaded the
+winter drives to meeting. Buffalo robes were not so plenty
+in those days as they became a few years later, and our
+fathers did not dress so warmly as do we. He was so
+stiffened by cold on some of these drives to Amesbury
+that he told me "his teeth could not chatter until thawed
+out." Winter had its compensations, as he has so well
+shown in "Snow-Bound." But it is noticeable that he does
+not refer in that poem to the winter drives to meeting.<span class="pagenum"><a name="Page_34" id="Page_34">[Pg 34]</a></span>
+On one occasion he improved the absence of his parents
+on a First Day to go nutting. He climbed a tall walnut,
+and had a fall of about twenty feet which came near being
+fatal. The Friends did not theoretically hold one day
+more sacred than another, and yet theirs was the habit of
+the Puritan community, to abstain from all play as well
+as from work on the Sabbath, and this fall gave a smart
+fillip to the young poet's conscience.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="scene_in_school_days" id="scene_in_school_days"></a>
+<img src="images/image033.jpg" width="600" height="523" alt="SCENE OF &quot;IN SCHOOL DAYS&quot;" title="SCENE OF &quot;IN SCHOOL DAYS&quot;" />
+<span class="caption">SCENE OF &quot;IN SCHOOL DAYS&quot;</span>
+</div>
+
+<p>This story illustrating Whittier's popularity when a
+child I did not get from him, but is a legend of the neighborhood.
+One of their nearest neighbors, a Miss Chase,
+had a cherry-tree she guarded with the utmost jealousy.
+No bird could alight on it in cherry time, and no boy approach
+it, without bringing her to the rescue with a promptness
+that frightened them. One day she saw a boy in the
+branches of this precious tree, and issued upon the scene
+with dire threats. She caught sight of the culprit's face,
+and instantly changed her tone: "Oh, is it you, Greenleaf?
+Take all the cherries you want!"</p>
+
+<p>The old homestead was an object of interest as far
+back as 1842, as is shown by a letter before me, written
+by Elizabeth Nicholson of Philadelphia, who asks her
+friend, Elizabeth Whittier, for a picture of it: "When
+thee come to Philadelphia if thee will bring ever so rough
+a sketch of the house where Greenleaf was born, for
+Elizabeth Lloyd to copy for my book, why&mdash;we'll be
+glad to see thee! I hope for the sake of the picturesque
+it is a ruin&mdash;indeed it must be, for Griswold says it has
+been in the family a hundred years!" It had then been
+in the family for over one hundred and fifty years. The
+book referred to by Miss Nicholson was a manuscript
+collection of all the verses, published and unpublished,
+that Whittier had written at that time&mdash;a notable collection,
+now in existence. She had obtained from the poet a
+preface in verse for this album, which as it has autobiographical
+material, refers to the scenery of his birthplace,
+and was never in print, is here given in a version he prepared<span class="pagenum"><a name="Page_35" id="Page_35">[Pg 35]</a></span>
+for another similar album. For this version I am
+indebted to the collection made by Mary Pillsbury of
+Newbury, which contains other original poems of Whittier
+never published:&mdash;</p>
+
+<div class="poem"><div class="title">
+A RETROSPECT</div>
+
+<div class="stanza">
+<span class="i0">O visions of my boyhood! shades of rhymes!<br /></span>
+<span class="i0">Vain dreams and longings of my early times!<br /></span>
+<span class="i0">The work of intervals, a ploughboy's lore,<br /></span>
+<span class="i0">Oft conned by hearthlight when day's toil was o'er;<br /></span>
+<span class="i0">Or when through roof-cracks could at night behold<br /></span>
+<span class="i0">Bright stars in circle with pattens of gold;<br /></span>
+<span class="i0">Or stretched at noon while oaken branches cast<br /></span>
+<span class="i0">A restful shade, where rippling waters passed;<br /></span>
+<span class="i0">The ox unconscious panted at my side,<br /></span>
+<span class="i0">The good dog fondly his young master eyed,<br /></span>
+<span class="i0">And on the boughs above the forest bird<br /></span>
+<span class="i0">Alone rude snatches of the measure heard;<br /></span>
+<span class="i0">The measure that had sounded to me long,<br /></span>
+<span class="i0">And vain I sought to weave it in a song,<br /></span>
+<span class="i0">Or trace it, when the world's enchantment first<br /></span>
+<span class="i0">To longing eye, as kindling dawn's light, burst.<br /></span>
+<span class="i0">Then flattery's voice, in woman's gentlest tone,<br /></span>
+<span class="i0">Woke thoughts and feelings heretofore unknown,<br /></span>
+<span class="i0">And homes of wealth and beauty, wit and mirth,<br /></span>
+<span class="i0">By taste refined, by eloquence and worth,<br /></span>
+<span class="i0">Taught and diffused the intellect's high joy,<br /></span>
+<span class="i0">And gladly welcomed e'en a rustic boy;<br /></span>
+<span class="i0">Or when ambition's lip of flame and fear<br /></span>
+<span class="i0">Burned like the tempter's to my listening ear,<br /></span>
+<span class="i0">And a proud spirit, hidden deep and long,<br /></span>
+<span class="i0">Rose up for strife, stern, resolute, and strong,<br /></span>
+<span class="i0">Eager for toil, and proudly looking up<br /></span>
+<span class="i0">To higher levels for the world, with hope.<br /></span>
+</div></div>
+
+<p>In these lines Whittier has told in brief the whole story
+of his life, from his early dreaming by this brookside
+and at this hearthstone, to the waking of his political
+ambitions, and later to his earnest strife to bring up the
+world "to higher levels."</p>
+
+<p>It happened that the day on which Whittier visited his<span class="pagenum"><a name="Page_36" id="Page_36">[Pg 36]</a></span>
+birthplace for the last time was toward the close of a
+spirited political campaign in which Whittier took much
+interest, as General Butler was a candidate he was opposing.
+Speaking of Butler reminded him of the pet ox of
+his boyhood, which had the odd name of "Old Butler,"
+between whose horns he would sit as the animal chewed
+his cud under the hillside oaks. This was the same ox
+that, in rushing down one of these steep hills for salt,
+could not stop because of his momentum, but saved his
+young master's life by leaping over his head. No doubt
+this ox was in mind when he wrote the line just quoted,
+"The ox unconscious panted at my side." One story
+reminded him of another, and he said this ox was named
+for another that had its day in a former generation on a
+neighboring farm.</p>
+
+<p>This is the story he told of the original "Old Butler:"
+A family named Morse lived not far from here, and included
+several boys fond of practical joking. The older
+brothers one day bound the youngest upon the back of
+the ox, Butler. Frightened by the unusual burden, the
+animal dashed away to the woods on Job's Hill. The
+lad was fearfully bruised before he was rescued. Indignant
+at the treatment he had received, he left home the next
+morning, and was not heard from until in his old age he
+returned to the Haverhill farm, and found his brothers
+still living. They killed for him the fatted calf, and after
+the supper, as they sat before the great wood fire, they
+talked over the events of their boyhood. One of the brothers
+referred to the subject all had hitherto avoided, and
+said, "Don't you remember your ride upon Old Butler?"
+"Yes, I <i>do</i> remember it," was the answer, "and I don't
+thank you for bringing it up at this time." The next
+morning he left the place, and was never again heard
+from. Mr. Whittier told this story to explain the odd
+name he had given his ox.</p>
+
+<p>The story has been often told of Garrison's coming out
+to East Haverhill to find a contributor who had interested<span class="pagenum"><a name="Page_37" id="Page_37">[Pg 37]</a></span>
+him; and it has been stated that the Quaker lad was
+called in from work in the field to see the dapper young
+editor and his lady friend. He once told me that the
+situation was a bit more awkward for him. It happened
+that on this eventful morning the young poet had discovered
+that a hen had stolen her nest under the barn, and
+he was crawling on his hands and knees, digging his dusty
+way towards the hen, when his sister Mary came out to
+summon him to receive city visitors. It was only by her
+urgent persuasion that he was induced to give up burrowing
+for the eggs. By making a wide detour, he entered
+the house without being seen, and in haste effected a
+change of raiment. In telling the story, he said he put on
+in his haste a pair of trousers that came scarcely to his
+ankles, and he must have been a laughable spectacle.
+He would have felt much more at ease if he had come
+in just as he was when he emerged from under the barn.
+Garrison, with the social tact that ever distinguished him,
+put the shy boy at his ease at once.</p>
+
+<p>After the death of their father, Greenleaf and his brother
+Franklin for a time worked the farm together, and
+when in later life they indulged in reminiscences of this
+agricultural experience, this is a story with which the poet
+liked to tease his brother: Franklin was sent to swap
+cows with a venerable Quaker living at considerable distance
+from their homestead. He came back with a beautiful
+animal, warranted as he supposed to be a good cow,
+and he depended upon a verbal warrant from a member
+of a Society which was justly proud of its reliability in all
+business transactions. It was soon found that she was
+worthless as a milker, and Franklin took her back, demanding
+a cancellation of the bargain because the cow
+was not as represented. But the old Quaker was ready
+for him: "What did I tell thee? Did I say she was a
+<i>good</i> cow? No, I told thee she was a <i>harnsome</i> cow&mdash;and
+thee cannot deny she <i>is</i> harnsome!"</p>
+
+<p>One of Whittier's ancestors was fined for cutting oaks<span class="pagenum"><a name="Page_38" id="Page_38">[Pg 38]</a></span>
+on the common. When this fact was discovered, he was
+asked if he would wish this circumstance to be omitted in
+his biography. "By no means," he said, "tell the whole
+story. It shows we had some enterprising ancestors, even
+if a bit unscrupulous."</p>
+
+<p>When Whittier last visited his birthplace, ten years
+before his death, he was saddened by many evidences he
+saw that the estate was not being thriftily managed, and
+expressed the wish to buy and restore the place to something
+like its condition when it remained in his family.
+Not one of his near relatives was then so situated as
+to be able to take charge of it, and his idea of again
+making it Whittier homestead was reluctantly given up.
+When he learned, towards the close of his life, that Mr.
+Ordway, Mayor Burnham, and other public-spirited citizens
+of Haverhill, proposed to buy and care for the place,
+already become a shrine for many visitors, he asked
+permission to pay whatever might be needed for its purchase.
+He died before negotiations could be completed,
+and Hon. James H. Carleton generously bought the
+homestead, and transferred the proprietorship to a self-perpetuating
+board of nine trustees, viz.: Alfred A. Ordway,
+George C. How, Charles Butters, Dudley Porter,
+Thomas E. Burnham, Clarence E. Kelley, Susan B. Sanders,
+Sarah M. F. Duncan, and Annie W. Frankle. In
+the deed of gift the trustees were enjoined "to preserve
+as nearly as may be the natural features of the landscape;
+preserve and restore the buildings thereon as nearly as
+may be in the same condition as when occupied by Whittier;
+and to afford all persons, at such suitable times and
+under such proper restrictions as said trustees may prescribe,
+the right and privilege of access to the same, that
+thereby the memory and love for the poet and the man
+may be cherished and perpetuated." Mr. Ordway was
+made president of the board, and in his hands the office
+has been no sinecure. His unflagging zeal and his unerring
+good taste have resulted not only in putting the<span class="pagenum"><a name="Page_39" id="Page_39">[Pg 39]</a></span>
+ancient house into the perfect order of the olden time, but
+in fertilizing the wornout fields, and preserving for future
+ages one of the finest specimens in the country of the
+colonial farmhouse of New England. Mr. Whittier's
+niece, to whom he left his house in Amesbury, returned
+to the birthplace many of the household treasures that
+were carried from there in 1836. The articles in the house
+purporting to be Whittier heirlooms may be depended on
+as genuine.</p>
+
+<p>I do not think that Whittier was ever aware that Harriet
+Livermore, the "not unfeared, half-welcome guest," of
+whom he gave such a vivid portrait in "Snow-Bound,"
+returned to America from her travels in the Holy Land
+at about the time that poem was published, and died the
+next year, 1867. I have from good authority this curious
+story of her first reading of those lines which meant so
+much in a peculiar way to the immortality of her name.
+She was ill, and called with a prescription at a drugstore
+in Burlington, N. J. It happened that the druggist was a
+personal friend of Whittier's&mdash;Mr. Allinson, father of the
+lad for whom the poem "My Namesake" was written.
+This was in March, 1866, and Whittier had just sent his
+friend an early copy of his now famous poem. He had
+not had time to open the book when the prescription was
+handed him. As it would take considerable time to compound
+the medicine, he asked the aged lady to take a seat,
+and handed her the book he had just received to read
+while waiting. When he gave her the medicine and she
+returned the book, he noticed she was much perturbed,
+and was mystified by her exclamation: "This book tells
+a pack of lies about me!" He naturally supposed she
+was crazy, both from her remark and from her appearance.
+It was not until some time later that he learned that his
+customer was Harriet Livermore herself!</p>
+
+<p>In another New Jersey town was living at the same time
+another of the "Snow-Bound" characters,&mdash;the teacher
+of the district school, whose name even the poet had forgotten<span class="pagenum"><a name="Page_40" id="Page_40">[Pg 40]</a></span>
+when this sketch of him was written. In the last
+year of his life Whittier recalled that his name was Haskell,
+but could tell me no more, except that he was from
+Maine, and was a Dartmouth student. His story is told
+in "Life and Letters," and is now referred to only to note
+the curious fact that although he lived until 1876, and
+was a cultivated man who no doubt was familiar with Whittier's
+work, yet he was never aware that he had the poet
+for a pupil, and died without knowing that his own portrait
+had been drawn by the East Haverhill lad with whom
+he had played in this old kitchen. I have this from my
+friend, John Townsend Trowbridge, who was personally
+acquainted with Haskell in the last years of his life.</p>
+
+<p>It was in 1698, ten years after this house was built,
+that the Indians in a foray upon Haverhill burned many
+houses and killed or captured forty persons, including
+the heroic Hannah Dustin, in whom they caught a veritable
+tartar. Her statue with uplifted tomahawk stands
+in front of the City Hall. It is possible that on her return
+to Haverhill she brought her ten Indian scalps into
+this kitchen.</p>
+
+<p>Whittier used to tell many amusing stories of his boyhood
+days. Here is one he heard in the old kitchen of
+the Whittier homestead at Haverhill, as told by the aged
+pastor of the Congregational church in the neighborhood,
+who used to call upon the Quaker family as if they belonged
+to his parish. These extra-official visits were much
+prized, especially by the boys, for he told them many a
+tale of his own boyhood in Revolutionary times. This
+story of "the power of figures" I can give almost in
+Whittier's words, as I made notes while he was telling it:</p>
+
+<p>The old clergyman sat by the kitchen fire with his mug
+of cider and told of his college life. He was a poor student,
+and when he went home at vacation time, he tramped
+the long journey on foot, stopping at hospitable farmhouses
+on the way for refreshment. One evening an old
+farmer invited him in, and as they sat by the fire, after<span class="pagenum"><a name="Page_41" id="Page_41">[Pg 41]</a></span>
+a good supper, they talked of the things the student was
+learning at college. At length the farmer suggested:&mdash;</p>
+
+<p>"No doubt you know the power of figures?"</p>
+
+<p>The student modestly allowed he had learned something
+of algebra and some branches of the higher mathematics.</p>
+
+<div class="figcenter" style="width: 534px;">
+<a name="harriet_livermore" id="harriet_livermore"></a>
+<img src="images/image041.jpg" width="534" height="600" alt="HARRIET LIVERMORE" title="HARRIET LIVERMORE" />
+<span class="caption">HARRIET LIVERMORE<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a></span>
+</div>
+
+
+
+
+
+<p>"I know it! I know it! You are just the man I want to
+see. You know the power of figures! I have lost a cow;
+now use your power of figures and find her for me."</p>
+
+<p><span class="pagenum"><a name="Page_42" id="Page_42">[Pg 42]</a></span></p>
+<p>The student disclaimed such power, but it was of no
+use. The farmer insisted that one who knew the power of
+figures must be able to locate his cow. Else, of what use
+to go to college; why not stay at home and find the cows
+after the manner of the unlearned? So the student decided
+to quiz a little. He took a piece of chalk and drew crazy
+diagrams on the floor. The farmer thought he recognized
+in the lines the roads and fences of the vicinity, rubbed
+his hands, and exclaimed:&mdash;</p>
+
+<p>"You are coming to it! Don't tell me you don't know
+the power of figures!"</p>
+
+<p>At last, when the poor student had exhausted the power
+of his invention, he threw down the chalk, and pointing
+to the spot where it fell, said:&mdash;</p>
+
+<p>"Your cow is there!"</p>
+
+<p>He had a good bed, but could not rest easy on it for
+the thought of how he was to get out of the scrape in the
+morning, when it would be surely known that his figures
+had lied. He decided that he would steal off before any
+of the family had arisen. In the early dawn he was congratulating
+himself upon having got out of the house unobserved,
+when he was met at the gate by the old farmer
+himself, who was leading the cow home in triumph. He
+had found her exactly where the figures had foretold. Of
+course the mathematician must go back to breakfast&mdash;what
+was he running off for, after doing such a service by
+his learning?</p>
+
+<p>They stood again by the cabalistic diagram on the floor
+of the kitchen.</p>
+
+<p>"You needn't tell me you don't know the power of
+figures," exclaimed the good man, "for the cow was just
+there!"</p>
+
+<p>For once, the clergyman said, Satan had done him a
+good turn.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="scene_on_country_brook" id="scene_on_country_brook"></a>
+<img src="images/image043.jpg" width="600" height="438" alt="SCENE ON COUNTRY BROOK" title="SCENE ON COUNTRY BROOK" />
+<span class="caption">SCENE ON COUNTRY BROOK</span>
+</div>
+
+<p>Nearly all the early letters and poems of Whittier,
+written before he gave up every selfish ambition and
+devoted his life to philanthropic work, show how great<span class="pagenum"><a name="Page_43" id="Page_43">[Pg 43]</a></span>
+was the change that came over his spirit when about
+twenty-five years of age. Before that time he imagined
+that the world was treating him harshly, and he was bracing
+himself for a contest with it, with a feeling that he
+was surrounded by enemies. His tone was almost invariably
+pessimistic. After the change referred to, he habitually
+saw friends on every side, gave up selfish ambitions,
+and a cheerful optimism pervaded his outlook upon life.
+The following extract from a letter written in April, 1831,
+while editing the "New England Review," to a literary
+lady in New Haven, is in the prevailing tone of what he
+wrote in the earlier period. This letter has only lately
+come into my possession, and is now first quoted:&mdash;</p>
+
+<div class="blockquot"><p>"Disappointment in a thousand ways has gone over
+my heart, and left it dust. Yet I still look forward with
+high anticipations. I have placed the goal of my ambitions
+high&mdash;but with the blessing of God it shall be<span class="pagenum"><a name="Page_44" id="Page_44">[Pg 44]</a></span>
+reached. The world has at last breathed into my bosom
+a portion of its own bitterness, and I now feel as if I
+would wrestle manfully in the strife of men. If my life is
+spared, the world shall know me in a loftier capacity than
+<i>as a writer of rhymes</i>. [The italics are his own.] There&mdash;is
+not that boasting?&mdash;But I have said it with a strong
+pulse and a swelling heart, and I shall strive to realize
+it."</p></div>
+
+<p>In another letter, written at about the same time to the
+same correspondent, he says: "As for tears, I have not
+shed anything of the kind since my last flogging under
+the birchen despotism of the Nadir Shah of our village
+school. I have sometimes wished I <i>could</i> shed tears&mdash;especially
+when angry with myself or with the world.
+There is an iron fixedness about my heart on such occasions
+which I would gladly melt away."</p>
+
+<p>From the birthplace to the Amesbury home is a distance
+of nine miles, traversed by electric cars in less than
+an hour. Midway is the thriving village of Merrimac,
+formerly known as West Amesbury. It was at Birchy
+Meadow in this vicinity that Whittier taught his first and
+only term of district school, in the winter of 1827-28.
+The road is at considerable distance from the Merrimac
+River, and at several points it surmounts hills which afford
+remarkably fine views of the wide and fertile river valley,
+with occasional glimpses of the river itself. At Pond Hills,
+near the village of Amesbury, the landscape presented to
+view is one of the widest and loveliest in all this region.
+It is a panorama of the beautifully rounded hills peculiar
+to this section, with a tidal river winding among them with
+many a graceful curve. The electric road we have taken
+is about two miles from the left bank of the river, across
+which we look to the Newbury hills, cultivated to their
+tops, with here and there a church spire indicating the
+location of the distant villages. Every part of this lovely
+valley has been commemorated in Whittier's writings,
+prose and verse.</p>
+
+<p><span class="pagenum"><a name="Page_45" id="Page_45">[Pg 45]</a></span></p>
+
+<div class="figcenter" style="width: 590px;">
+<a name="sycamores" id="sycamores"></a>
+<img src="images/image045.jpg" width="590" height="600" alt="THE SYCAMORES" title="THE SYCAMORES" />
+<span class="caption">THE SYCAMORES</span>
+</div>
+
+<p>If, instead of the trolley, we take the carriage road from
+Haverhill along the bank of the river, we soon come to
+what are left of "the sycamores," planted in 1739 by
+Hugh Tallant, in front of the Saltonstall mansion. This
+mansion is now occupied by the Haverhill Historical Society,
+and most of the famous row of "Occidental plane-trees"
+were cut down many years ago, a sacrifice to street
+improvement. Three of the ancient trees still stand, and
+will probably round out the second century of their existence.
+They are about eighty feet in height, and measure
+nearly twenty feet around their trunks. Under these trees
+Washington "drew rein," and Whittier repeats the legend
+that he said:&mdash;</p>
+
+<p><span class="pagenum"><a name="Page_46" id="Page_46">[Pg 46]</a></span></p>
+<div class="poem"><div class="stanza">
+<span class="i0">"I have seen no prospect fairer<br /></span>
+<span class="i0">In this goodly Eastern land."<br /></span>
+</div></div>
+
+<p>About a mile below on the northeasterly side of Millvale,
+a hill picturesquely crowned with pines attracts attention.
+This is the Ramoth Hill immortalized in the
+lovely poem "My Playmate:"&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"The pines were dark on Ramoth Hill,<br /></span>
+<span class="i1">Their song was soft and low.<br /></span>
+</div><div class="stanza">
+<span class="i4"><b>.&nbsp;&nbsp;&nbsp;     .&nbsp;&nbsp;&nbsp;     .&nbsp;&nbsp;&nbsp;     .&nbsp;&nbsp;&nbsp;     .</b><br /></span>
+</div><div class="stanza">
+<span class="i0">"And still the pines of Ramoth wood<br /></span>
+<span class="i1">Are moaning like the sea,&mdash;<br /></span>
+<span class="i0">The moaning of the sea of change<br /></span>
+<span class="i1">Between myself and thee!"<br /></span>
+</div></div>
+
+<p>Until recently there has been much doubt as to the location
+of Ramoth Hill, Whittier himself giving no definite
+answer when asked in regard to it. Indeed, the poem as
+originally written had the title "Eleanor," and the hill
+was given the name of Menahga. But Mr. J. T. Fields, to
+whom the manuscript was submitted, did not like this
+name, and Whittier changed it to Ramoth, which suited
+his editor's taste. Mr. Alfred A. Ordway, the best authority
+on all matters pertaining to Whittier's allusions to
+places in this region, has discovered that the name Menahga
+was given to this particular hill in Haverhill by
+Mrs. Mary S. West of Elmwood, one of a family all the
+members of which were dear to Whittier from his boyhood
+to the close of his life. A letter of Whittier's to
+Mrs. West has come to light, written about the time this
+poem was composed, in which he commends the selection
+of the name of this hill, and intimates that he shall
+use it in a poem.</p>
+
+<p>On the Country Bridge road, leading from the birthplace
+to Rocks Village, is an ancient edifice, known as the
+"Old Garrison House," which is of interest to Whittier-Land
+pilgrims because it was the home of Whittier's great-grandmother,
+Mary Peaslee, who brought Quakerism into
+the Whittier family. Thomas Whittier, the pioneer, did<span class="pagenum"><a name="Page_47" id="Page_47">[Pg 47]</a></span>
+not belong to the Society of Friends, though favorably
+disposed toward the sect. His youngest son, Joseph,
+brought the young Quakeress into the family, and their
+descendants for several generations, down to the time of
+the poet, belonged to the sect founded by her father's
+friend, George Fox. Joseph Peaslee built this house with
+bricks brought from England before 1675. As it was one
+of the largest and strongest houses in the town, in the
+time of King Philip's war it was set apart by the town
+authorities as a house of refuge for the families of the
+neighborhood, and as a rallying point for the troops kept
+on the scout. There are many port-holes through its thick
+walls.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="old_garrison_house" id="old_garrison_house"></a>
+<img src="images/image047.jpg" width="600" height="398" alt="OLD GARRISON HOUSE (PEASLEE HOUSE)" title="OLD GARRISON HOUSE PEASLEE HOUSE" />
+<span class="caption">OLD GARRISON HOUSE (PEASLEE HOUSE)</span>
+</div>
+
+<p>A little farther on we come to Rocks Village, pictured
+so perfectly by Whittier in his poem "The Countess,"
+that it will be at once recognized:&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Over the wooded northern ridge,<br /></span>
+<span class="i1">Between its houses brown,<br /></span>
+<span class="i0">To the dark tunnel of the bridge<br /></span>
+<span class="i1">The street comes straggling down."<br /></span>
+</div></div>
+
+<p><span class="pagenum"><a name="Page_48" id="Page_48">[Pg 48]</a></span></p>
+<p>The bridge across the Merrimac at this point was a covered
+and gloomy structure at the time this poem was
+written. It has since been partially remodeled, and many
+of the houses of the "stranded village," then brown and
+paintless, have received modern improvements. But there
+is enough of antiquity still clinging to the place to make
+it recognizable from Whittier's lines. This was the market
+to which the Whittiers brought much of the produce of
+their farm to barter for household supplies. This was the
+home of Dr. Elias Weld, the "wise old doctor" of "Snow-Bound,"
+and it was to him "The Countess" was inscribed&mdash;the
+poem which every year brings many visitors hither,
+for the grave of the Countess is near.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="rocks_village" id="rocks_village"></a>
+<img src="images/image048.jpg" width="600" height="435" alt="ROCKS VILLAGE AND BRIDGE
+Home of the Countess was at further end of the bridge, in house now
+standing, afterward occupied by Whittier&#39;s benefactor, Dr. Weld." title="ROCKS VILLAGE AND BRIDGE
+Home of the Countess was at further end of the bridge, in house now
+standing, afterward occupied by Whittier&#39;s benefactor, Dr. Weld." />
+<span class="caption">ROCKS VILLAGE AND BRIDGE<br />
+<small>Home of the Countess was at further end of the bridge, in house now
+standing, afterward occupied by Whittier&#39;s benefactor, Dr. Weld.</small></span>
+</div>
+
+<p>Whittier was still in his teens when this eccentric physician
+left Rocks Village and removed to Hallowell,
+Maine, and almost half a century had intervened before he
+wrote that remarkable tribute to the friend and benefactor
+of his youth, which is found in the prelude to "The<span class="pagenum"><a name="Page_49" id="Page_49">[Pg 49]</a></span>
+Countess." The good old man died at Hudson, Ohio, a
+few months after the publication of the lines that meant
+so much to his fame, and it is pleasant to know that they
+consoled the last hours of his long life. Whittier did not
+know whether or not the benefactor of his boyhood was
+living in 1863, when he wrote the poem, as is shown in
+the lines:&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"I know not, Time and Space so intervene,<br /></span>
+<span class="i0">Whether, still waiting with a trust serene,<br /></span>
+<span class="i0">Thou bearest up thy fourscore years and ten,<br /></span>
+<span class="i0">Or, called at last, art now Heaven's citizen."<br /></span>
+</div></div>
+
+<div class="figcenter" style="width: 600px;">
+<a name="river_valley_grave_countess" id="river_valley_grave_countess"></a>
+<img src="images/image049.jpg" width="600" height="397" alt="RIVER VALLEY, NEAR GRAVE OF COUNTESS
+
+&quot;For, from us, ere the day was done
+The wooded hills shut out the sun.
+But on the river&#39;s further side
+We saw the hill-tops glorified.&quot;
+The River Path
+" title="RIVER VALLEY, NEAR GRAVE OF COUNTESS
+
+&quot;For, from us, ere the day was done
+The wooded hills shut out the sun.
+But on the river&#39;s further side
+We saw the hill-tops glorified.&quot;
+The River Path
+" />
+<span class="caption">RIVER VALLEY, NEAR GRAVE OF COUNTESS<br />
+
+<span class="poem"><span class="stanza">
+<small><span class="i14">&quot;For, from us, ere the day was done<br /></span>
+<span class="i14">The wooded hills shut out the sun.<br /></span>
+<span class="i14">But on the river&#39;s further side<br /></span>
+<span class="i14">We saw the hill-tops glorified.&quot;<br /></span>
+<span class="i20">The River Path<br /></span>
+</small></span></span></span>
+</div>
+
+<hr style="width: 45%;" />
+<div class="figcenter" style="width: 427px;">
+<a name="elias_weld" id="elias_weld"></a>
+<img src="images/image050.jpg" width="427" height="600" alt="DR. ELIAS WELD, AT THE AGE OF NINETY" title="DR. ELIAS WELD, AT THE AGE OF NINETY" />
+<span class="caption">DR. ELIAS WELD, AT THE AGE OF NINETY</span>
+</div>
+
+<p>And yet they were in correspondence in the previous year,
+as is shown by the fact that I find in an old album of
+Whittier's a photograph labeled by him "Dr. Weld," and
+this photograph, I am assured by Mrs. Tracy, a grandniece
+of Weld, was taken when he was ninety years of
+age. I think it probable that the sending of this photograph<span class="pagenum"><a name="Page_50" id="Page_50">[Pg 50]</a></span>
+by the aged physician put Whittier in mind to write
+his Rocks Village poem, with the tribute of remembrance
+and affection contained in its prelude. As to the ancient
+sulky which&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i6">"Down the village lanes<br /></span>
+<span class="i0">Dragged, like a war-car, captive ills and pains,"<br /></span>
+</div></div>
+
+<p>it was a chaise with white canvas top, and the doctor
+always dressed in gray, and drove a sober white horse.
+I have seen a letter of Whittier's written to Dr. Weld,
+then at Hallowell, in March, 1828, in which he says: "I
+am happy to think that I am not forgotten by those for
+whom I have always entertained the most sincere regard.
+I recollect perfectly well that (on one occasion in particular)
+after hearing thy animated praises of Milton and<span class="pagenum"><a name="Page_51" id="Page_51">[Pg 51]</a></span>
+Thomson I attempted to bring a few words to rhyme and
+measure; but whether it was poetry run mad, or, as Burns
+says, 'something that was rightly neither,' I cannot now
+ascertain; I am certain, however, that it was in a great
+measure owing to thy admiration of those poets that I
+ventured on that path which their memory has hallowed,
+in pursuit of&mdash;I myself hardly know what&mdash;time alone
+must determine.... I am a tall, dark-complexioned, and,
+I am sorry to say, rather ordinary-looking fellow, bashful,
+yet proud as any poet should be, and believing with the
+honest Scotchman that 'I hae muckle reason to be thankful
+that I am as I am.'"<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a> It is of interest further to state
+that Whittier's life-long friend and co-laborer in the anti-slavery
+field, Theodore D. Weld, was a nephew of "the
+wise old doctor." Also that another nephew, who was
+adopted as a son by the childless physician, was named
+"Greenleaf" for the young poet in whom he took so much
+interest. The grave of the Countess in the cemetery near
+Rocks Village is now better cared for than when the poem
+was written. This is not the cemetery referred to in the
+poem "The Old Burying-Ground," which is near the East
+Haverhill church.</p>
+
+<p><span class="pagenum"><a name="Page_52" id="Page_52">[Pg 52]</a></span></p>
+<p>In 1844, Whittier was the Liberty Party candidate for
+representative to the General Court from Amesbury, running
+against Whig and Democratic candidates. A majority
+vote being required there were five attempts to elect,
+in each of which Whittier steadily gained, and it was at
+last evident he would be elected at the next trial. Whereupon
+the two opposing parties united, and the town voted
+to have <i>no</i> representative for 1845. This was at the time
+of the agitation against the annexation of Texas, and
+Whittier was very anxious to be elected. Towns then
+paid the salaries of their representatives, and could, if
+they chose, remain unrepresented.</p>
+
+<p>At his last visit to his birthplace, in 1882, Whittier
+called my attention to the millstone which serves as a
+step at the door of the eastern porch, to which reference
+is made on page <a href="#Page_18">18</a>. It was soon after this that he wrote
+his fine poem "Birchbrook Mill," one stanza of which was
+evidently inspired by noticing this doorstep, and by memories
+of the mill of his ancestors on Fernside Brook, the
+site of which he had so recently visited:</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"The timbers of that mill have fed<br /></span>
+<span class="i1">Long since a farmer's fires;<br /></span>
+<span class="i0">His doorsteps are the stones that ground<br /></span>
+<span class="i1">The harvest of his sires."<br /></span>
+</div></div>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_53" id="Page_53">[Pg 53]</a></span></p>
+<h2><a name="AMESBURY" id="AMESBURY"></a><big>AMESBURY</big></h2>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_55" id="Page_55">[Pg 55]</a></span></p>
+<h2><a name="II" id="II"></a>II<br /><br />
+
+AMESBURY</h2>
+
+
+<p>Following down the left bank of the river, we come, near
+the village of Amesbury, to a sheltered nook between the
+steep northern hill and the broad winding river, known as
+"Pleasant Valley." At some points there is scant room
+for the river road between the high bluff and the water;
+at others a wedge of fertile intervale pushes back the
+steep bank. The comfortable houses of an ancient Quaker
+settlement are perched and scattered along this road in
+picturesque fashion. It was a favorite walk of Whittier
+and his sister, and it is commemorated in "The River
+Path,"&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Sudden our pathway turned from night;<br /></span>
+<span class="i0">The hills swung open to the light;<br /></span>
+</div><div class="stanza">
+<span class="i0">"Through their green gates the sunshine showed,<br /></span>
+<span class="i0">A long, slant splendor downward flowed.<br /></span>
+</div><div class="stanza">
+<span class="i0">"Down glade and glen and bank it rolled;<br /></span>
+<span class="i0">It bridged the shaded stream with gold;<br /></span>
+</div><div class="stanza">
+<span class="i0">"And, borne on piers of mist, allied<br /></span>
+<span class="i0">The shadowy with the sunlit side!"<br /></span>
+</div></div>
+
+<p>When Mr. Whittier returned to Amesbury from the last
+visit to his birthplace, referred to in the preceding chapter,
+it was by the road passing the Old Garrison House,
+the Countess' grave, Rocks Village, and Pleasant Valley.
+He pointed out each feature of the scene that reminded
+him of earlier days. When we came to Pleasant Valley,
+he stopped the carriage at a picturesque wooded knoll
+between the road and the river, and said that here he<span class="pagenum"><a name="Page_56" id="Page_56">[Pg 56]</a></span>
+used to come with his sister to gather harebells. It was
+so late in the season that every other flower by the roadside
+had been killed by frost; even the goldenrod was
+more sere than yellow. But the harebells were fresh in
+their delicate beauty, and he gathered a handful of them
+which lighted up his "garden room" for several days. I
+remember that on this occasion an effect referred to in
+"The River Path" was reproduced most beautifully. The
+setting sun, hidden to us, illuminated the hills of Newbury:&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"A tender glow, exceeding fair,<br /></span>
+<span class="i0">A dream of day without its glare.<br /></span>
+</div><div class="stanza">
+<span class="i0">"With us the damp, the chill, the gloom:<br /></span>
+<span class="i0">With them the sunset's rosy bloom;<br /></span>
+</div><div class="stanza">
+<span class="i0">"While dark, through willowy vistas seen,<br /></span>
+<span class="i0">The river rolled in shade between."<br /></span>
+</div></div>
+
+<p>To a friend in Brooklyn who inquired in regard to the
+origin of this poem, Mr. Whittier wrote: "The little poem
+referred to was suggested by an evening on the Merrimac
+River, in company with my dear sister, who is no longer
+with me, having crossed the river (as I fervently hope) to
+the glorified hills of God."</p>
+
+<p>"The Last Walk in Autumn" is another poem inspired
+by the scenery of this locality. At the lower end of this
+valley, near the mouth of the Powow, on the edge of the
+bluff overlooking the Merrimac, Goody Martin lived more
+than two hundred years ago, and the cellar of her house
+was still to be seen when, in 1857, Whittier first told the
+story of "The Witch's Daughter," the poem now known
+as "Mabel Martin." She was the only woman who suffered
+death on a charge of witchcraft on the north side of the
+Merrimac. One other aged woman in this village was
+imprisoned, and would have been put to death, but for the
+timely collapse of the persecution. She was the wife of
+Judge Bradbury, and lived on the Salisbury side of the
+Powow. In his ballad Whittier traces the path he used to<span class="pagenum"><a name="Page_57" id="Page_57">[Pg 57]</a></span>
+take towards the Goody Martin place, as was his custom
+in many of his ballads. One who desires to take this
+path can enter upon it at the Union Cemetery, where the
+poet is buried. Follow the "level tableland" he describes
+towards the Merrimac, looking down at the left into the
+deep and picturesque valley of the Powow,&mdash;a charming
+view of its placid, winding course after it has made its
+plunge of eighty feet over a shoulder of Po Hill,&mdash;until
+you</p>
+
+<div class="poem"><div class="stanza">
+<span class="i4">... "see the dull plain fall<br /></span>
+<span class="i0">Sheer off, steep-slanted, ploughed by all<br /></span>
+<span class="i0">The seasons' rainfalls,"<br /></span>
+</div></div>
+
+<p>and you look down upon the broad Merrimac seeking
+"the wave-sung welcome of the sea." Find a path winding
+down the bluff facing the river, half-way down to the hat
+factory which is close to the water, and you are upon the
+location of Goody Martin's cottage. But no trace is now
+to be seen of "the cellar, vine overrun" which the poet
+describes.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="cursons_mill" id="cursons_mill"></a>
+<img src="images/image057.jpg" width="600" height="320" alt="CURSON&#39;S MILL, ARTICHOKE RIVER" title="CURSON&#39;S MILL, ARTICHOKE RIVER" />
+<span class="caption">CURSON&#39;S MILL, ARTICHOKE RIVER</span>
+</div>
+
+<p>I visited the spot with the poet on the October day
+before referred to, and noted the felicity of his descriptions
+of the locality. It is near the river, but high above<span class="pagenum"><a name="Page_58" id="Page_58">[Pg 58]</a></span>
+it, and one looks <i>down</i> upon the tops of the willows on
+the bank:&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"And through the willow-boughs <i>below</i><br /></span>
+<span class="i0">She saw the rippled waters shine."<br /></span>
+</div></div>
+
+<p>Opposite Pleasant Valley, on the Newbury side of the
+river, are "The Laurels," "Curson's Mill," and the mouth
+of the Artichoke, celebrated in several poems. In June,
+when the laurels are in bloom, this shore is well worth
+visiting for its natural beauties, as well as for the association
+of Whittier's frequent allusion to it in prose as well
+as verse. It was for the "Laurel Party," an annual excursion
+of his friends to this shore, that he wrote the poems,
+"Our River," "Revisited," and "The Laurels." In "June
+on the Merrimac" he sings:&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"And here are pictured Artichoke,<br /></span>
+<span class="i1">And Curson's bowery mill;<br /></span>
+<span class="i0">And Pleasant Valley smiles between<br /></span>
+<span class="i1">The river and the hill."<br /></span>
+</div></div>
+
+<p>In the stanza preceding this he takes a view down the
+Merrimac, past Moulton's Hill in Newbury,&mdash;an eminence
+commanding one of the finest views on the river,
+formerly crowned with a castle-like structure occupied
+for several years as the summer residence of Sir Edward
+Thornton,&mdash;to the great bend the river makes in passing
+its last rocky barrier at Deer Island. The Hawkswood
+oaks are a magnificent feature of the scene. This estate,
+on the Amesbury side of the river, was formerly occupied
+by Rev. J. C. Fletcher, of Brazilian fame.</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"The Hawkswood oaks, the storm-torn plumes<br /></span>
+<span class="i1">Of old pine-forest kings,<br /></span>
+<span class="i0">Beneath whose century-woven shade<br /></span>
+<span class="i1">Deer Island's mistress sings."<br /></span>
+</div></div>
+
+<div class="figcenter" style="width: 600px;">
+<a name="deer_island" id="deer_island"></a>
+<img src="images/image059.jpg" width="600" height="339" alt="DEER ISLAND AND CHAIN BRIDGE" title="DEER ISLAND AND CHAIN BRIDGE" />
+<span class="caption">DEER ISLAND AND CHAIN BRIDGE</span>
+</div>
+
+<p>The Merrimac, beautiful as are its banks along its entire
+course, nowhere presents more picturesque scenery
+than where it passes through the deep valley it has worn<span class="pagenum"><a name="Page_59" id="Page_59">[Pg 59]</a></span>
+for itself between the hills of Amesbury and Newbury,
+and especially where its tidal current is parted by the
+perpendicular cliffs of Deer Island. At this point the
+quaint old chain bridge, built about a century ago, spans
+the stream. This island is the home of Harriet Prescott
+Spofford, who is referred to in the stanza just quoted.
+About forty years ago, it was proposed to build a summer
+hotel on this island, which is four or five miles from the
+mouth of the Merrimac. I have found among Mr. Whittier's
+papers an unfinished poem, protesting against what
+he considered a desecration of this spot which always
+had a great charm for him. It is likely that the reason
+why this poem was never finished or published was because
+the project of building a hotel was abandoned. I
+have taken the liberty to give as a title for it "The Plaint
+of the Merrimac." As it was written in almost undecipherable
+hieroglyphics, some of the words are conjectural:&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"I heard, methought, a murmur faint,<br /></span>
+<span class="i0">Our River making its complaint;<br /></span>
+<span class="i0">Complaining in its liquid way,<br /></span>
+<span class="i0">Thus it said, or seemed to say:<br /></span>
+</div><span class="pagenum"><a name="Page_60" id="Page_60">[Pg 60]</a></span>
+<div class="stanza">
+<span class="i0">"'What 's all this pother on my banks&mdash;<br /></span>
+<span class="i0">Squinting eyes and pacing shanks&mdash;<br /></span>
+<span class="i0">Peeping, running, left and right,<br /></span>
+<span class="i0">With compass and theodolite?<br /></span>
+</div><div class="stanza">
+<span class="i0">"'Would they spoil this sacred place?<br /></span>
+<span class="i0">Blotch with paint its virgin face?<br /></span>
+<span class="i0">Do they&mdash;is it possible&mdash;<br /></span>
+<span class="i0">Do they dream of a hotel?<br /></span>
+</div><div class="stanza">
+<span class="i0">"'Match against my moonlight keen<br /></span>
+<span class="i0">Their tallow dip and kerosene?<br /></span>
+<span class="i0">Match their low walls, plaster-spread,<br /></span>
+<span class="i0">With my blue dome overhead?<br /></span>
+</div><div class="stanza">
+<span class="i0">"'Bring their hotel din and smell<br /></span>
+<span class="i0">Where my sweet winds blow so well,<br /></span>
+<span class="i0">And my birches dance and swing,<br /></span>
+<span class="i0">While my pines above them sing?<br /></span>
+</div><div class="stanza">
+<span class="i0">"'This puny mischief has its day,<br /></span>
+<span class="i0">But Nature's patient tasks alway<br /></span>
+<span class="i0">Begin where Art and Fashion stopped,<br /></span>
+<span class="i0">O'ergrow, and conquer, and adopt.<br /></span>
+</div><div class="stanza">
+<span class="i0">"'Still far as now my tide shall flow,<br /></span>
+<span class="i0">While age on age shall come and go,<br /></span>
+<span class="i0">Nor lack, through all the coming days,<br /></span>
+<span class="i0">The grateful song of human praise.'"<br /></span>
+</div></div>
+
+<p>Before the chain bridge was built, a ferry was maintained
+at the mouth of the Powow, and here Washington
+crossed the river at his last visit to New England. It is
+said that a French ship lay at the wharf near the ferry,
+and displayed the French flag over the American because
+of the French feeling against the policy of Washington's
+administration. Washington refused to land until the
+obnoxious flag was lowered to its proper place.</p>
+
+<p>It was a one-story cottage on Friend Street, Amesbury,
+to which the Whittiers came in July, 1836&mdash;a cottage
+with but four rooms on the ground floor, and a chamber
+in the attic. The sum paid for this cottage, with about<span class="pagenum"><a name="Page_61" id="Page_61">[Pg 61]</a></span>
+an acre of land, was twelve hundred dollars. The Haverhill
+farm was sold for three thousand dollars. Accustomed
+to the comparatively large ancestral home at Haverhill,
+it is no wonder that there was at first a feeling of homesickness,
+as is evidenced in the diary kept by Elizabeth.
+This feeling was naturally intensified by the prolonged
+absences of her brother, who from 1836 to 1840 was away
+from home most of the time, engaged with his duties as
+secretary of the anti-slavery society in New York, and as
+editor of the "Pennsylvania Freeman" in Philadelphia.
+During these years, the only occupants of the cottage were
+Whittier's mother, his sister Elizabeth, and his aunt Mercy,
+except when his frequent illnesses, and his interest in the
+political events of the North Essex congressional district,
+called him home. But in 1840, his residence in Amesbury
+became permanent. At about this time he made the tour
+of the country with the English philanthropist, Joseph
+Sturge, who noticed his straitened circumstances, and out
+of the largeness of his heart, in a most delicate way, not<span class="pagenum"><a name="Page_62" id="Page_62">[Pg 62]</a></span>
+only gave him financial assistance at the time, but seven
+years later enabled him to build a two-story ell to the
+cottage, and add a story to the eastern half of the original
+structure. A small ell of one story, occupying part of the
+space of the present "garden room," was built by Mr. Whittier
+when he bought the cottage in 1836, and this was aunt
+Mercy's room. At the later enlargement of the house this
+small room was lengthened, and a chamber built over it.
+In the lower floor of this enlarged ell is the room which
+has ever since been known as the "garden room," because
+it was built into the garden, and a much prized fruit tree
+was sacrificed to give it place. The chamber over this
+room was occupied by Elizabeth until her death in 1864,
+and after that by Mr. Whittier.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="whittier_home_amesbury" id="whittier_home_amesbury"></a>
+<img src="images/image061.jpg" width="600" height="425" alt="THE WHITTIER HOME, AMESBURY" title="THE WHITTIER HOME, AMESBURY" />
+<span class="caption">THE WHITTIER HOME, AMESBURY</span>
+</div>
+
+<p>While repairs were making in this part of the house in
+the summer of 1903, a package of old letters was found
+in the wall, bearing the date of 1847, the year when the
+enlargement was made. One of them reveals the source
+of the money required for the improvement. It was from
+Lewis Tappan of New York, the financial backbone of
+the anti-slavery society, inclosing a check for arrears of
+salary due Whittier for editorial work. Mr. Tappan writes:
+"I will ask the executive committee to raise the compensation.
+I wish we could pay you according to the real value
+of your productions, rather than according to their length....
+Inclosed is a check for one hundred dollars. Mr.
+Sturge authorizes me to draw on him for one thousand
+dollars at any time when you and I should think it could
+be judiciously invested in real estate for your family. I
+can procure the money in a week by drawing on him.
+When you have made up your mind as to the investment,
+please let me know."</p>
+
+<p>At this time the poet was feeling the pinch of real poverty
+and was living in a little one-story cottage that gave
+him no room for a study, and no suitable chamber for a
+guest. It was at this time that he received the letter which
+contained not only a check for overdue salary, but a promise<span class="pagenum"><a name="Page_63" id="Page_63">[Pg 63]</a></span>
+of a gift of one thousand dollars from his generous
+English friend, Joseph Sturge. The result of this beneficence
+was the building of the "garden room," to which
+thousands of visitors come from all parts of this and other
+countries, because in it were written "Snow-Bound," "The
+Eternal Goodness," and most of the poems of Whittier's
+middle life and old age. Mr. Sturge had sent Whittier six
+years earlier a draft for one thousand dollars, intending
+it should be used by him in traveling for his health.
+But Whittier had given most of this toward the support
+of an anti-slavery paper in New York. Two years later
+the same generous friend offered to pay all his expenses<span class="pagenum"><a name="Page_64" id="Page_64">[Pg 64]</a></span>
+if he would come to England as his guest, an offer he was
+obliged to decline. A portrait of Sturge is appropriately
+placed in this room. Tappan's letter was written April 21,
+1847, and the addition to the cottage was built in the
+summer of that year. The whole expense of the improvement
+was no doubt covered by Sturge's gift. Other interesting
+letters of the same period were included in the
+package in the wall.</p>
+
+<div class="figcenter" style="width: 325px;">
+<a name="joseph_sturge" id="joseph_sturge"></a>
+<img src="images/image063.jpg" width="325" height="450" alt="JOSEPH STURGE, THE ENGLISH PHILANTHROPIST
+
+
+&quot;The very gentlest of all human natures
+He joined to courage strong.&quot;
+In Remembrance of Joseph Sturge" title="JOSEPH STURGE, THE ENGLISH PHILANTHROPIST
+
+
+&quot;The very gentlest of all human natures
+He joined to courage strong.&quot;
+In Remembrance of Joseph Sturge" />
+<span class="caption">JOSEPH STURGE, THE ENGLISH PHILANTHROPIST<br />
+
+
+<span class="poem"><span class="stanza">
+<small><span class="i2">&quot;The very gentlest of all human natures<br /></span>
+<span class="i2">He joined to courage strong.&quot;<br /></span>
+<span class="i6 smcap">In Remembrance of Joseph Sturge<br /></span>
+</small></span></span></span></div>
+
+
+<p>In a drawer of the desk is a most remarkable album
+of autographs of public men, presented to Mr. Whittier
+on his eightieth birthday, by the Essex Club. It is a
+tribute to the poet signed by every member of the United
+States Senate and House of Representatives, the Supreme
+Court of the United States, the Governor, ex-Governors,
+and Supreme Court of Massachusetts, and all the members
+of the Essex Club; also, many distinguished citizens,
+such as George Bancroft (who adds to his autograph
+"with special good wishes to the coming octogenarian"),
+Robert C. Winthrop, Frederick Douglass, and J. G.
+Blaine. An eloquent speech of Senator Hoar, who suggested
+this unique tribute, is engrossed in the exquisite
+penmanship of a colored man, to whom was intrusted
+the ornamental pen-work of the whole volume. The congressional
+signatures were obtained by Congressman
+Coggswell of the Essex district. It is noticeable that no
+Southern member declined to sign this tribute to one so
+identified with the anti-slavery movement.</p>
+
+<p>The "garden room" remains almost precisely as when
+occupied by the poet&mdash;the same chairs, open stove,
+books, pictures, and even wall-paper and carpet, remaining
+in it as he placed them. In the north window the
+flowers pressed between the plates of glass are those
+on receipt of which he wrote "The Pressed Gentian." By
+the desk is the cane he carried for more than fifty years,
+made of wood from his office in Pennsylvania Hall, burned
+by a pro-slavery mob in 1838. This is the cane for which
+he wrote the poem "The Relic:"&mdash;</p>
+
+<p><span class="pagenum"><a name="Page_65" id="Page_65">[Pg 65]</a></span></p>
+<div class="poem"><div class="stanza">
+<span class="i0">"And even this relic from thy shrine,<br /></span>
+<span class="i1">O holy Freedom! hath to me<br /></span>
+<span class="i0">A potent power, a voice and sign<br /></span>
+<span class="i1">To testify of thee;<br /></span>
+<span class="i0">And, grasping it, methinks I feel<br /></span>
+<span class="i0">A deeper faith, a stronger zeal."<br /></span>
+</div></div>
+
+<div class="figcenter" style="width: 600px;">
+<a name="garden_room_amesbury" id="garden_room_amesbury"></a>
+<img src="images/image065.jpg" width="600" height="419" alt="THE &quot;GARDEN ROOM,&quot; AMESBURY HOME" title="THE &quot;GARDEN ROOM,&quot; AMESBURY HOME" />
+<span class="caption">THE &quot;GARDEN ROOM,&quot; AMESBURY HOME</span>
+</div>
+
+<p>He had many canes given him, some valuable, but this
+plain stick was the only one he ever carried. With this
+cane may be seen one made of oak from the cottage of
+Barbara Frietchie&mdash;not, as was erroneously stated in
+the biography, a cane carried by the patriotic Barbara.
+The portraits he hung in this room are of Garrison,
+Thomas Starr King, Emerson, Longfellow, Sturge, "Chinese"
+Gordon, and Matthew Franklin Whittier. There
+is also a fine picture of his birthplace, a water-color sent
+him by Bayard Taylor from the most northern point in
+Norway, and a picture, also sent by Bayard Taylor, of the
+Rock in El Ghor, on receipt of which the poem of that
+title was written. The Norway picture was painted by Mrs.<span class="pagenum"><a name="Page_66" id="Page_66">[Pg 66]</a></span>
+Taylor, and represents the surroundings of the northernmost
+church in the world. The mirror in this room is an
+heirloom of the Whittier family, dating at least a century
+before the birth of the poet. The little table under it is
+almost equally old.</p>
+
+<p>The album containing the likeness of Dr. Weld has
+also a photograph under which Whittier has written
+"Mary E. S. Thomas," and this has a special interest, as
+it is a portrait of his relative, schoolmate, and life-long
+friend, Mary Emerson Smith, who became the wife of
+Judge Thomas of Covington, Ky. She was a granddaughter
+of Captain Nehemiah Emerson, who fought at
+Bunker Hill, was an officer in the army of Washington,
+serving at Valley Forge and at the surrender of Burgoyne,
+and her grandmother was Mary Whittier&mdash;a
+cousin of the poet's father, whom Whittier used to call
+"aunt Mary." For a time, when in his teens, he stayed
+at Captain Emerson's, and went to school from there, making
+himself useful in doing chores. Mary Smith, then a
+young girl, passed much of her time at her grandfather's,
+and later was a fellow-student of Whittier's at the Academy.
+I think there is now no impropriety in stating that
+it is to her that the poem "Memories" refers.<a name="FNanchor_4_4" id="FNanchor_4_4"></a><a href="#Footnote_4_4" class="fnanchor">[4]</a> She was
+living at the time when the biography of Whittier was
+written, and for that reason her name was not given, but
+only a veiled reference in "Life and Letters," as at page
+276. During many years of her widowhood she spent the
+summer months in New England, and occasionally met
+Mr. Whittier at the mountains. They were in friendly
+correspondence to the close of his life. She survived him<span class="pagenum"><a name="Page_67" id="Page_67">[Pg 67]</a></span>
+several years. It has been suggested with some show of
+probability that it is a memory of the days they spent together
+at her grandfather's that is embodied in the poem
+"My Playmate." At the time when this poem was written
+she was living in Kentucky.</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"She lives where all the golden year<br /></span>
+<span class="i1">Her summer roses blow;<br /></span>
+<span class="i0">The dusky children of the sun<br /></span>
+<span class="i1">Before her come and go."<br /></span>
+</div></div>
+
+<p>But this poem, like others of Whittier's, is probably a
+composite of memories and largely imaginative, as is
+shown in what is elsewhere said about the localities of
+Ramoth Hill and Folly Mill.</p>
+
+<div class="figcenter" style="width: 411px;">
+<a name="mary_emerson_smith_thomas" id="mary_emerson_smith_thomas"></a>
+<img src="images/image067.jpg" width="411" height="450" alt="MARY EMERSON (SMITH) THOMAS" title="MARY EMERSON (SMITH) THOMAS" />
+<span class="caption">MARY EMERSON (SMITH) THOMAS</span>
+</div>
+
+<hr style="width: 45%;" />
+
+<div class="figcenter" style="width: 315px;">
+<a name="evelina_bray_17" id="evelina_bray_17"></a>
+<img src="images/image068.jpg" width="315" height="450" alt="EVELINA BRAY, AT THE AGE OF SEVENTEEN" title="EVELINA BRAY, AT THE AGE OF SEVENTEEN" />
+<span class="caption">EVELINA BRAY, AT THE AGE OF SEVENTEEN</span>
+</div>
+
+<p>In the "garden room" also is a miniature on ivory of<span class="pagenum"><a name="Page_68" id="Page_68">[Pg 68]</a></span>
+a beautiful girl of seventeen, crowned with roses. This is
+Evelina Bray of Marblehead, a classmate of Whittier's at
+the Academy in the year 1827, when this portrait was
+painted. But for adverse circumstances, the school acquaintance
+which led to a warm attachment between them
+might have resulted in marriage. But the case was hopeless
+from the first. He was but nineteen years old, and
+she seventeen. On both sides the families opposed the
+match. Among the Quakers marriage "outside of society"
+was not to be thought of in those days; in his case it
+would mean the breaking up of a family circle dependent
+on him, and a severance from his loved mother and sister.
+This same reason prevented the ripening of other attachments<span class="pagenum"><a name="Page_69" id="Page_69">[Pg 69]</a></span>
+in later life; for in each case his choice would
+have been "out of society." Two or three years after
+they parted at the close of
+an Academy term, he walked
+from Salem to Marblehead
+before breakfast on a June
+morning, to see his schoolmate.
+He was then editing
+the "American Manufacturer,"
+in Boston. She could
+not invite him in, and they
+walked to the old ruined fort,
+and sat on the rocks overlooking
+the beautiful harbor.
+This meeting is commemorated
+in three stanzas of one
+of the loveliest of his poems,
+"A Sea Dream"&mdash;a poem,
+by the way, not as a whole
+referring to Marblehead or to the friend of his youth.
+But I have good authority for the statement that these
+three stanzas refer directly to the Marblehead incident.
+All who are familiar with the locality will recognize it in
+these verses:&mdash;</p>
+
+<div class="figright" style="width: 287px;">
+<a name="whittier_22" id="whittier_22"></a>
+<img src="images/image069.jpg" width="287" height="400" alt="WHITTIER, AT THE AGE OF TWENTY-TWO" title="WHITTIER, AT THE AGE OF TWENTY-TWO" />
+<span class="caption">WHITTIER, AT THE AGE OF TWENTY-TWO</span>
+</div>
+
+
+<div class="poem"><div class="stanza">
+<span class="i0">"The waves are glad in breeze and sun,<br /></span>
+<span class="i1">The rocks are fringed with foam;<br /></span>
+<span class="i0">I walk once more a haunted shore,<br /></span>
+<span class="i1">A stranger, yet at home,<br /></span>
+<span class="i1">A land of dreams I roam.<br /></span>
+</div><div class="stanza">
+<span class="i0">"Is this the wind, the soft sea-wind<br /></span>
+<span class="i1">That stirred thy locks of brown?<br /></span>
+<span class="i0">Are these the rocks whose mosses knew<br /></span>
+<span class="i1">The trail of thy light gown,<br /></span>
+<span class="i1">Where boy and girl sat down?<br /></span>
+</div><div class="stanza">
+<span class="i0">"I see the gray fort's broken wall,<br /></span>
+<span class="i1">The boats that rock below;<br /></span><span class="pagenum"><a name="Page_70" id="Page_70">[Pg 70]</a></span>
+<span class="i0">And, out at sea, the passing sails<br /></span>
+<span class="i1">We saw so long ago<br /></span>
+<span class="i1">Rose-red in morning's glow."<br /></span>
+</div></div>
+
+<p>With a single exception, these schoolmates did not meet
+again for more than fifty years, and Whittier was never
+aware of this exception. In middle life, when the poet
+was editing the "Pennsylvania Freeman," and Miss Bray
+was engaged with Catherine Beecher in educational work,
+they once happened to sit side by side in the pew of a
+Philadelphia church, but he left without recognizing her,
+and she was too shy to speak to him. I had the story
+from a lady who as a little girl sat in the pew with them,
+and knew them both. Miss Bray married an Englishman
+named Downey, and in a romantic way<a name="FNanchor_5_5" id="FNanchor_5_5"></a><a href="#Footnote_5_5" class="fnanchor">[5]</a> Mr. Whittier
+discovered her address. Mr. Downey was an evangelist
+making a crusade in the great cities against Romanism,
+and met his death from wounds received in facing a New
+York mob. Whittier, supposing he was poor, and that his
+schoolmate was having a hard time, sent Downey money
+without her knowledge. She accidentally discovered this
+and returned the money. In her widowhood she occasionally
+corresponded with Mr. Whittier, who induced her to
+come to the reunion of his schoolmates in 1885, more
+than fifty years after their parting at Marblehead, and
+more than forty years after the chance meeting in Philadelphia.<span class="pagenum"><a name="Page_71" id="Page_71">[Pg 71]</a></span>
+At this reunion she gave him the miniature
+reproduced in our engraving, which was returned to her
+after Whittier's death. When she died it went to another
+schoolmate, the wife of Rev. Dr. S. F. Smith, author of
+our national hymn. From her it came to Whittier's niece,
+and is now kept in the drawer where the poet originally
+placed it. With it is the first portrait ever taken of Whittier&mdash;it
+being painted by the same artist (J. S. Porter)
+two or three years after the girl's miniature, while he was
+editing the "Manufacturer."</p>
+
+<div class="figcenter" style="width: 343px;">
+<a name="evelina_bray_downey" id="evelina_bray_downey"></a>
+<img src="images/image071.jpg" width="343" height="450" alt="EVELINA BRAY DOWNEY" title="EVELINA BRAY DOWNEY" />
+<span class="caption">EVELINA BRAY DOWNEY</span>
+</div>
+
+<p><span class="pagenum"><a name="Page_72" id="Page_72">[Pg 72]</a></span></p>
+<p>Here is an extract from a note Whittier sent Mrs.
+Downey soon after the reunion: "Let me thank thee for
+the picture thee so kindly left with me. The sweet, lovely
+girl face takes me back to the dear old days, as I look at
+it. I wish I could give thee something half as valuable in
+return." The portrait of Mrs. Downey at the age of eighty,
+here given, is from a photograph she contributed to an
+album presented to Whittier by his schoolmates of 1827,
+after the reunion of 1885. Rev. Dr. S. F. Smith attended
+this reunion in place of his wife, who was then an invalid,
+and he wrote to his wife this account of the appearance
+of her old schoolmate at that meeting: "She looked, O so
+<i>distingué</i>, in black silk, with a white muslin veil, reaching
+over the silver head and down below the shoulders. Just
+as if she were a Romish Madonna, who had stepped out
+from an old church painting to hold an hour's communion
+with earth."</p>
+
+<p>I was in correspondence with Mrs. Downey during the
+last years of her life, but she would not give me permission
+to call upon her, and the reason given was that I had seen
+the miniature, and she preferred to be remembered by that.
+She was very shy about telling of her early acquaintance
+with Whittier, and whatever I could learn was by indirection.
+For instance, I obtained the Marblehead story by
+her sending me a copy of Whittier's poems which he had
+given her, and she had drawn a line around the stanzas
+quoted above. No word accompanied the book. Of course
+I guessed what she meant, and asked if my guess was correct.
+She replied "Yes," and no more. Whittier said he
+had the Captain Ireson story from a schoolmate who came
+from Marblehead. I asked her if she, as the only Marblehead
+schoolmate, was the person referred to, and received
+an emphatic "No." To an intimate friend she once said
+that during her early acquaintance with Whittier it seemed
+as if the devil kept whispering to her, "He is only a shoemaker!"</p>
+
+<p>The apartment now used as a reception room was the<span class="pagenum"><a name="Page_73" id="Page_73">[Pg 73]</a></span>
+kitchen of the original cottage, and has the large fireplace
+and brick oven that were universal in houses built a
+century ago. A small kitchen was later built as an ell,
+and this central room became the dining room, remaining
+so as long as Mr. Whittier lived. In the reception
+room is a large bookcase filled with a part of the poet's
+library, exactly as when he was living here. His books
+overrun all the rooms in the house, and many are packed
+in closets. The large engraving of Lincoln over the mantel
+is an artist's proof, and was placed there by Whittier
+forty years ago. An ancient mirror in this room, surmounted
+by a gilt eagle, was broken by a lightning stroke
+in September, 1872. The track of the electrical current
+may still be seen in the blackening of a gilt moulding in
+the upper left corner. The broken glass fell over a member
+of the family sitting under it, and Whittier himself,
+who was standing near the door of the "garden room," was
+thrown to the floor. All in the house were stunned and
+remained deafened for several minutes, but no one was
+seriously injured. Up to that time the house had been
+protected by lightning rods; but Mr. Whittier now had
+them removed, and refused to have them replaced, though
+much solicited by agents. In revenge, one of the persistent
+brotherhood issued a circular having a picture of
+this house with a thunderbolt descending upon it, as an
+awful warning against neglect! He had the impudence to
+emphasize his fulmination by printing a portrait of the
+poet, who, it was intimated, would yet be punished for
+defying the elements.</p>
+
+<p>The old parlor, the principal room of the original cottage,
+has suffered no change in the several remodelings of
+the house. The beams in the corners show a frame of the
+olden style&mdash;for the cottage had been built many years
+when the Whittiers came here. The clear pine boards
+in the dado are two feet in width. In this room are placed
+many memorials of the poet of interest to visitors. What
+to him was the most precious thing in the house is the portrait<span class="pagenum"><a name="Page_74" id="Page_74">[Pg 74]</a></span>
+of his mother over the mantel&mdash;a work of art that
+holds the attention of the most casual visitor. The likeness
+to her distinguished son is remarked by all. One sees
+strength of character in the beautiful face, and a dignity
+that is softened by sweetness and serenity of spirit. The
+plain lace cap, white kerchief, drab shawl, and folded hands
+typify all the Quaker virtues that were preëminently hers.</p>
+
+<p>On the opposite wall is the crayon likeness of Elizabeth,
+the dearly loved sister, so tenderly apostrophized in
+"Snow-Bound:"&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"I cannot feel that thou art far,<br /></span>
+<span class="i0">Since near at need the angels are;<br /></span>
+<span class="i0">And when the sunset gates unbar,<br /></span>
+<span class="i1">Shall I not see thee waiting stand,<br /></span>
+<span class="i0">And, white against the evening star,<br /></span>
+<span class="i1">The welcome of thy beckoning hand?"<br /></span>
+</div></div>
+
+<p>When she died, in 1864, her friend, Lucy Larcom, had
+this excellent portrait made and presented it to the bereaved
+brother, and it has hung on this wall nearly forty
+years. All the other members of the "Snow-Bound" family
+are here represented by portraits, except the father and
+uncle Moses, of whom no likenesses exist, save as found
+in the poet's lines. The Hoit portrait of Whittier, painted
+when he was about forty years of age, was kept out of
+sight in a seldom-used chamber, while the poet was living,
+for he allowed no picture of himself to be prominently
+displayed. The portrait of his brother was painted when
+he was about forty years of age. A small photograph of
+his older sister, Mary Caldwell, is shown, and a silhouette
+of aunt Mercy; also a portrait of his brother's daughter,
+Elizabeth (Mrs. Pickard), who was a member of his household
+for twenty years, and to whom he left this house and
+its contents by his will. Her son Greenleaf, to whom
+when four years of age his granduncle inscribed the
+poem "A Name," now resides here.</p>
+
+<div class="figcenter" style="width: 363px;">
+<a name="mrs_pickard" id="mrs_pickard"></a>
+<img src="images/image075.jpg" width="363" height="450" alt="MRS. PICKARD" title="MRS. PICKARD" />
+<span class="caption">MRS. PICKARD</span>
+</div>
+
+<p>In this parlor is the desk on which "Snow-Bound" was
+written, also "The Tent on the Beach" and other poems of<span class="pagenum"><a name="Page_75" id="Page_75">[Pg 75]</a></span>
+this period. The success of these poems enabled him to
+buy a somewhat better desk, now to be seen in the "garden
+room," where this desk formerly stood. In this desk are
+presentation copies of many books, with the autographs
+of their authors&mdash;Harriet Beecher Stowe, Lydia Maria
+Child, Miss Mitford, Julia Ward Howe, John Hay, T. B.
+Aldrich, and others. Here also is the diary kept by Elizabeth
+Whittier, in the years 1835-37, covering the period
+of the removal from Haverhill to Amesbury. Of antiquarian
+interest is an account-book of the Whittier family,
+from 1786 to 1800, going into minute details of household
+expenses, and containing many times repeated the autographs
+of Whittier's grandfather, his father, and his uncles
+Moses and Obadiah, who recorded their annual settlements
+of accounts in this book. Near the desk are bound<span class="pagenum"><a name="Page_76" id="Page_76">[Pg 76]</a></span>
+volumes of papers edited by Whittier&mdash;the "New England
+Review" of 1830, the "Pennsylvania Freeman" of 1840,
+and the "National Era" of 1847-50. These contain much
+of his prose and verse never collected. The Rogers group
+of statuary representing Whittier, Beecher, and Garrison
+listening to the story of a fugitive slave girl, who holds
+an infant in her arms, is in the corner of the room, where
+it has been for about thirty years. The garden, in the
+care of which Mr. Whittier took much pleasure, comprises
+about one half acre of land. He had peach, apple, and
+pear trees&mdash;but the peaches gave out and were not renewed.
+He also raised grapes, quinces, and small fruit
+in abundance. The rosebush he prized as his mother's
+favorite is still flourishing, as are also the fine magnolia,
+laburnum, and cut-leaved birch of his planting. The ash
+tree in front of the house was planted by his mother.</p>
+
+<p>While gathering grapes in an arbor in this garden, in
+1847, Mr. Whittier received a bullet wound in the cheek.
+Two boys were firing at a mark on the grounds of a
+neighbor, and this mark was near where Whittier stood,
+but on account of a high fence they did not see him.
+When the bullet struck him, he was so concerned lest his
+mother should be alarmed by the accident that he said
+nothing, not even notifying the boys. He bound up his
+bleeding face in a handkerchief and called on Dr. Sparhawk,
+who lived near. As soon as the wound was dressed,
+he came home and gave his family their first notice of the
+accident. The boys had not then learned the result of
+their carelessness. The lad who fired the gun was named
+Philip Butler, and he has since acquired a high reputation
+as an artist. The painting representing the Haverhill
+homestead which is to be seen at the birthplace was executed
+by this artist. He tells of the kindness with which
+Whittier received his tearful confession. It was during
+the first days of the Mexican war, and some of the papers
+humorously commented upon it as a singular fact that
+the first blood drawn was from the veins of a Quaker who
+had so actively opposed entering upon that war.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="scene_garden_whittiers_funeral" id="scene_garden_whittiers_funeral"></a>
+<a href="images/image076a.jpg">
+<img src="images/image076.jpg" width="600" height="345" alt="SCENE IN GARDEN, AT WHITTIER&#39;S FUNERAL" title="SCENE IN GARDEN, AT WHITTIER&#39;S FUNERAL" /></a>
+<span class="caption">SCENE IN GARDEN, AT WHITTIER&#39;S FUNERAL</span>
+</div>
+
+<p><span class="pagenum"><a name="Page_77" id="Page_77">[Pg 77]</a></span></p>
+<p>Once while his guest at Amesbury, I went with him to
+town meeting. He was one of the first men in the town to
+vote that morning, and after voting spent an hour talking
+politics with his townsmen. General C., his candidate for
+Congress, had been intemperate, and the temperance men
+were making that excuse for voting in favor of Colonel F.,
+who, Whittier said, always drank twice as much as C., but
+was harder headed and stood it better. Other candidates
+were being scratched for reasons as flimsy, and our Grand
+Old Man was getting disgusted with the Grand Old Party,
+as represented at that meeting. He said to a friend he
+met, "The Republicans are scratching like wild cats."
+In the evening an old friend and neighbor called on him,
+and was complaining of Blaine and other party leaders.
+At last Mr. Whittier said, "Friend Turner, has thee met
+many angels and saints in thy dealings with either of the
+parties? Thy experience should teach thee not to expect
+too much of human nature." On the same evening he told
+of a call Mr. Blaine made upon him some time previously.
+The charm of his manner, he said, recalled that of Henry
+Clay, as he remembered him. On that occasion Blaine
+made a suggestion for the improvement of a verse in the<span class="pagenum"><a name="Page_78" id="Page_78">[Pg 78]</a></span>
+poem "Among the Hills," which Whittier adopted. The
+verse is descriptive of a country maiden, who was said
+to be</p>
+
+<div class="poem"><div class="stanza">
+<span class="i2">"Not beautiful in curve and line."<br /></span>
+</div></div>
+
+<p>Blaine suggested as an amendment,&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i2">"Not <i>fair alone</i> in curve and line;"<br /></span>
+</div></div>
+
+<p>and this is the reading in the latest editions.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="ferry_salisbury_point" id="ferry_salisbury_point"></a>
+<img src="images/image077.jpg" width="600" height="287" alt="THE FERRY, SALISBURY POINT
+Mouth of Powow in foreground at the right hidden by its own banks in
+this picture. Hawkswood in distance at extreme right." title="THE FERRY, SALISBURY POINT
+Mouth of Powow in foreground at the right hidden by its own banks in
+this picture. Hawkswood in distance at extreme right." />
+<span class="caption">THE FERRY, SALISBURY POINT<br />
+<small>Mouth of Powow in foreground at the right hidden by its own banks in
+this picture. Hawkswood in distance at extreme right.</small></span>
+</div>
+
+<p>Thomas Wentworth Higginson, during his residence
+in Newburyport, was often a guest at the Amesbury home,
+and he has this to say of each member of the family:
+"The three members of the family formed a perfect combination
+of wholly varying temperaments. Mrs. Whittier
+was placid, strong, sensible, an exquisite housekeeper
+and 'provider;' it seems to me that I have since seen
+no whiteness to be compared to the snow of her table-cloths
+and napkins. But her soul was of the same hue;
+and all worldly conditions and all the fame of her children&mdash;for
+Elizabeth Whittier then shared the fame&mdash;were to
+her wholly subordinate things, to be taken as the Lord
+gave. On one point only this blameless soul seemed to
+have a shadow of solicitude, this being the new wonder
+of Spiritualism, just dawning on the world. I never went
+to the house that there did not come from the gentle lady,
+very soon, a placid inquiry from behind her knitting-needles,
+'Has thee any farther information to give in regard
+to the spiritual communications, as they call them?'
+But if I attempted to treat seriously a matter which then,
+as now, puzzled most inquirers by its perplexing details,
+there would come some keen thrust from Elizabeth Whittier
+which would throw all serious solution further off than
+ever. She was indeed a brilliant person, unsurpassed in
+my memory for the light cavalry charges of wit; as unlike
+her mother and brother as if she had been born into a
+different race. Instead of his regular features she had a
+wild, bird-like look, with prominent nose and large liquid
+dark eyes, whose expression vibrated every instant between<span class="pagenum"><a name="Page_79" id="Page_79">[Pg 79]</a></span>
+melting softness and impetuous wit; there was
+nothing about her that was not sweet and kindly, but you
+were constantly taxed to keep up with her sallies and hold
+your own; while her graver brother listened with delighted
+admiration, and rubbed his hands over bits of merry sarcasm
+which were utterly alien to his own vein."</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="powow_river_po_hill" id="powow_river_po_hill"></a>
+<img src="images/image079.jpg" width="600" height="415" alt="POWOW RIVER AND PO HILL" title="POWOW RIVER AND PO HILL" />
+<span class="caption">POWOW RIVER AND PO HILL</span>
+</div>
+
+<p>The village of Amesbury enjoyed a sense of proprietorship
+in Whittier which it never lost, even when Danvers
+claimed him for a part of each year. He did not give up
+the old house, consecrated by memories of his mother and
+sister, but returned to it oftener and oftener in his last
+years, and he hoped that he might spend his last days on
+earth where his mother and sister died. The feeling of the
+people of Amesbury was expressed in a poem written by
+a neighbor, and published in the village paper, under the
+title of "Ours," some stanzas of which are here given:&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"I say it softly to myself,<br /></span>
+<span class="i1">I whisper to the swaying flowers.<br /></span>
+<span class="i0">When he goes by, ring all your bells<br /></span>
+<span class="i1">Of perfume, ring, for he is ours.<br /></span>
+</div><span class="pagenum"><a name="Page_80" id="Page_80">[Pg 80]</a></span><div class="stanza">
+<span class="i0">"Ours is the resolute, firm step,<br /></span>
+<span class="i1">Ours the dark lightning of the eye,<br /></span>
+<span class="i0">The rare sweet smile, and all the joy<br /></span>
+<span class="i1">Of ownership, when he goes by.<br /></span>
+</div><div class="stanza">
+<span class="i4"><b>.&nbsp;&nbsp;&nbsp;     .&nbsp;&nbsp;&nbsp;     .&nbsp;&nbsp;&nbsp;     .&nbsp;&nbsp;&nbsp;     .</b><br /></span>
+</div><div class="stanza">
+<span class="i0">"I know above our simple spheres<br /></span>
+<span class="i1">His fame has flown, his genius towers;<br /></span>
+<span class="i0">These are for glory and the world.<br /></span>
+<span class="i1">But he himself is only ours."<br /></span>
+</div></div>
+
+<div class="figcenter" style="width: 600px;">
+<a name="friends_meeting-house" id="friends_meeting-house"></a>
+<img src="images/image080.jpg" width="600" height="443" alt="FRIENDS&#39; MEETING-HOUSE AT AMESBURY" title="FRIENDS&#39; MEETING-HOUSE AT AMESBURY" />
+<span class="caption">FRIENDS&#39; MEETING-HOUSE AT AMESBURY</span>
+</div>
+
+<p>The Friends' meeting-house, in 1836, was nearly opposite
+the Whittier cottage, on the site of the present French
+Catholic church. Two centuries ago there had been an
+earlier meeting-house of the Society, also on Friend
+Street, and the name of the street was given on this account.
+The present meeting-house, on the same street,
+was built in 1851, upon plans made by Mr. Whittier, who
+was chairman of the committee having it in charge. He
+once told me that some conservative Friends were worried
+lest he make the house too ornate. To satisfy them,<span class="pagenum"><a name="Page_81" id="Page_81">[Pg 81]</a></span>
+he employed three venerable carpenters, one of them a
+Quaker minister and the other two elders of the Society,
+and the result was this perfectly plain, neat structure,
+comfortable in all its appointments. Visitors like to find
+the seat usually occupied by Whittier. It is now marked
+by a silver plate. I have accompanied him to a First Day
+service here, in which for a half hour no one was moved
+to say a word. And this was the kind of service he much
+preferred to one in which the time was "fully occupied."
+The meeting was dismissed without a spoken word, the
+signal being the shaking of hands by two of the elders
+on the "facing seats." Then each worshiper shook the
+hand of the person next him. There was no sudden separation.
+The company formed itself into groups for a
+pleasant social reunion. In the group that surrounded
+Whittier were ten or twelve octogenarians, whom he told<span class="pagenum"><a name="Page_82" id="Page_82">[Pg 82]</a></span>
+me he had met in this way almost every week since his
+boyhood; for even when living in Haverhill, this was the
+meeting his family attended. It was delightful to see the
+warmth and tenderness of the greetings of these venerable
+life-long friends. I once accompanied him to a devotional
+meeting, where many of the leading Friends of the
+Society were present, and as the papers had announced
+the names of several speakers from distant States, he expressed
+the fear that there would be no opportunity to
+get "into the quiet." As the speakers followed each
+other in rapid succession, he asked me if I had a bit of
+paper and a pencil with me. Then he appeared to be
+taking notes of the proceedings. I fancied some of the
+speakers noticed his pencil, and were spurred by it to
+an enlargement of utterance. When we were at home,
+I asked what he had written. He smiled and handed
+me his "notes," which are before me as I write. "Man
+spoke," "Woman sang," "Man prayed," and so on for no
+less than fourteen items. Being slightly deaf, he had heard
+scarcely anything, and had been noting the number and
+variety of the performances. It was his protest against
+much speaking. At dinner the same day, his cousin, Joseph
+Cartland, commented upon the inarticulate sounds
+that accompanied the remarks of one or two of the speakers.
+"Let us shame them out of it," he said, "let's call
+it grunting." "Oh, no, Joseph," said Whittier, "don't thee
+do that&mdash;take away the grunt, and nothing is left!"</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="interior_friends_meeting-house" id="interior_friends_meeting-house"></a>
+<img src="images/image081.jpg" width="600" height="492" alt="INTERIOR OF FRIENDS&#39; MEETING-HOUSE
+Whittier&#39;s usual seat marked, on left side, near &quot;facing seats.&quot;" title="INTERIOR OF FRIENDS&#39; MEETING-HOUSE
+Whittier&#39;s usual seat marked, on left side, near &quot;facing seats.&quot;" />
+<span class="caption">INTERIOR OF FRIENDS&#39; MEETING-HOUSE<br />
+<small>Whittier&#39;s usual seat marked, on left side, near &quot;facing seats.&quot;</small></span>
+</div>
+
+<p>Mr. Whittier had many wonderful stories illustrating the
+guidance of the spirit to which members of the Society of
+Friends submitted in the daily intercourse of life. One was
+of an aged Friend, who never failed to attend meeting on
+First Day. But one morning he told his wife that he was
+impelled to take a walk instead of going to meeting, and he
+knew not whither he should go. He went into the country
+some distance and came to a lane which led to a house.
+He was impressed to take this lane, and soon reached a
+house where a funeral service was in progress. At the<span class="pagenum"><a name="Page_83" id="Page_83">[Pg 83]</a></span>
+close of the service he arose, and said that he knew nothing
+of the circumstances connected with the death of
+the young woman lying in the casket, but he was impelled
+to say that she had been accused of something of
+which she was not guilty, and the false accusation had hastened
+her death. Then he added that there was a person
+in the room who knew she was not guilty, and called upon
+this person, whoever it might be, to vindicate the character
+of the deceased. After a solemn pause, a woman arose
+and confessed she had slandered the dead girl. In telling
+such stories as this, Mr. Whittier did not usually express
+full and unreserved belief in their truth, but he maintained
+the attitude of readiness to believe anything of
+this kind which was well authenticated, and he approved
+of the methods of work adopted by the Society for Psychical
+Research in England and in this country.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="captains_well" id="captains_well"></a>
+<img src="images/image083.jpg" width="600" height="434" alt="CAPTAIN&#39;S WELL" title="CAPTAIN&#39;S WELL" />
+<span class="caption">CAPTAIN&#39;S WELL</span>
+</div>
+
+<p>The hills encircling the lovely valley of the short and
+busy Powow River, beginning with the southwestern extremity
+of the amphitheatre, are: Bailey's, on the declivity<span class="pagenum"><a name="Page_84" id="Page_84">[Pg 84]</a></span>
+of which, overlooking the Merrimac, is the site of
+Goody Martin's cottage, the scene of the poem of "Mabel
+Martin;" next is the ridge on which is the Union
+Cemetery where Whittier is buried; then Whittier Hill,
+named not for the poet but for his first American ancestor
+who settled here, and locally called "Whitcher Hill"&mdash;showing
+the ancient pronunciation of the name; then,
+across the Powow, are Po, Mundy, Brown's, and Rocky
+hills. On a lower terrace of the Union Cemetery ridge,
+and near the cemetery, is the Macy house, built before
+1654 by Thomas Macy, first town clerk of Amesbury (and
+ancestor of Edwin M. Stanton, the great war secretary),
+who was driven from the town for harboring a proscribed
+Quaker in 1659, as told in the poem "The Exiles;"<a name="FNanchor_6_6" id="FNanchor_6_6"></a><a href="#Footnote_6_6" class="fnanchor">[6]</a>
+also, the birthplace of Josiah Bartlett, first signer of
+the Declaration of Independence after Hancock, whose
+statue, given by Jacob R. Huntington, a public-spirited
+citizen of Amesbury, stands in Huntington Square; and
+near by is "The Captain's Well," dug by Valentine Bagley
+in pursuance of a vow, as told in Whittier's poem;
+also the Home for Aged Women, for which Whittier left
+by his will nearly $10,000. It is to a view of Newburyport
+as seen from Whittier Hill, a distance of five miles,
+that the opening lines of "The Preacher" refer:&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Far down the vale, my friend and I<br /></span>
+<span class="i1">Beheld the old and quiet town;<br /></span>
+<span class="i0">The ghostly sails that out at sea<br /></span>
+<span class="i0">Flapped their white wings of mystery;<br /></span>
+<span class="i0">The beaches glimmering in the sun,<br /></span>
+<span class="i0">And the low wooded capes that run<br /></span>
+<span class="i0">Into the sea-mist north and south;<br /></span>
+<span class="i0">The sand-bluffs at the river's mouth;<br /></span>
+<span class="i0">The swinging chain-bridge, and, afar,<br /></span>
+<span class="i0">The foam line of the harbor-bar."<br /></span>
+</div></div>
+
+<p>The cemetery in which Whittier is buried can be reached<span class="pagenum"><a name="Page_85" id="Page_85">[Pg 85]</a></span>
+by either the electric line from Merrimac, or the one from
+Newburyport&mdash;the latter approaching nearest the part in
+which is the Whittier lot. This lot is in the section reserved
+for the Society of Friends, and is surrounded
+by a well-kept hedge of arbor vitæ. Here is buried
+each member of the family commemorated in the poem
+"Snow-Bound," and also the niece of the poet, who was
+for twenty years a member of his household. There is a
+row of nine plain marble tablets, much alike, with Whittier's
+slightly the largest. At the corner where his brother
+is buried is a tall cedar, and at the foot of his own grave
+is another symmetrical tree of the same kind. Between
+him and his brother lie their father and mother, their two
+sisters, their uncle Moses and aunt Mercy. His niece,
+daughter of his brother, has a place by his side. Inclosed
+by the same hedge is the burial lot of his dearly-loved
+cousin, Joseph Cartland. For those who take note of
+dates it may be said that his father died in 1830, and not,
+as stated on his headstone, one year later.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="whittier_lot" id="whittier_lot"></a>
+<img src="images/image085.jpg" width="600" height="403" alt="WHITTIER LOT, UNION CEMETERY, AMESBURY" title="WHITTIER LOT, UNION CEMETERY, AMESBURY" />
+<span class="caption">WHITTIER LOT, UNION CEMETERY, AMESBURY</span>
+</div>
+
+<p>Po Hill, originally called Powow, because of the tradition<span class="pagenum"><a name="Page_86" id="Page_86">[Pg 86]</a></span>
+that the Indians used to hold their powwows upon its
+summit, is three hundred and thirty-two feet high, and
+commands a view so extended that many visitors make
+the ascent. One of Whittier's early prose legends is of a
+bewitched Yankee whose runaway horse took him to the
+top of this hill into a midnight powwow of Indian ghosts.
+In describing the hill he says: "It is a landmark to the
+skippers of the coasting craft that sail up Newburyport
+harbor, and strikes the eye by its abrupt elevation and
+orbicular shape, the outlines being as regular as if struck
+off by the sweep of a compass." From it in a clear day
+may be seen Mount Washington, ninety-eight miles away;
+the Ossipee range; Passaconaway; Whiteface; Kearsarge
+in Warner; Monadnock; Wachusett; Agamenticus and
+Bonny Beag in Maine; the Isles of Shoals with White
+Island light; Boon Island in Maine; and nearer at hand
+Newburyport with its harbor and bay; Plum Island; Cape
+Ann; Salisbury and Hampton beaches; Boar's Head and
+Little Boar's Head; Crane Neck and many other of the
+beautiful hills of Newbury, Rowley, Ipswich, and Danvers.
+The view of Cape Ann as seen from Po Hill is
+referred to by Whittier at the opening of the poem "The
+Garrison of Cape Ann:"&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"From the hills of home forth looking, far beneath the tent-like span<br /></span>
+<span class="i0">Of the sky, I see the white gleam of the headland of Cape Ann."<br /></span>
+</div></div>
+
+<p>Down the south side of the Po flows the Powow River in
+a series of cascades, the finest of which are now hidden
+by the mills, or arched over by the main street of the
+village of Amesbury. The hill is celebrated in several
+of Whittier's poems, including "Abram Morrison," "Miriam,"
+and "Cobbler Keezar's Vision." The Powow, a
+little way above its plunge over the rocks where it gives
+power for the mills, flows in front of the Whittier home,
+and but the width of a block distant. The surface of
+its swift current is but a few feet below the level of<span class="pagenum"><a name="Page_87" id="Page_87">[Pg 87]</a></span>
+Friend Street. Po Hill rises steeply from its left bank. The
+Powow is mentioned in the poem "The Fountain:"&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Where the birch canoe had glided<br /></span>
+<span class="i1">Down the swift Powow,<br /></span>
+<span class="i0">Dark and gloomy bridges strided<br /></span>
+<span class="i1">Those clear waters now;<br /></span>
+<span class="i0">And where once the beaver swam,<br /></span>
+<span class="i0">Jarred the wheel and frowned the dam."<br /></span>
+</div><div class="stanza">
+</div></div>
+
+<div class="figcenter" style="width: 434px;">
+<a name="fountain_mundy_hill" id="fountain_mundy_hill"></a>
+<img src="images/image087.jpg" width="434" height="500" alt="THE FOUNTAIN, ON MUNDY HILL" title="THE FOUNTAIN, ON MUNDY HILL" />
+<span class="caption">THE FOUNTAIN, ON MUNDY HILL</span>
+</div>
+
+<p>"The Fountain" is a spring that may be found on
+the western side of Mundy Hill. The oak mentioned in
+this poem is gone, and a willow takes its place. The
+Rocky Hill meeting-house is well worth the attention of<span class="pagenum"><a name="Page_88" id="Page_88">[Pg 88]</a></span>
+visitors, as a well-preserved specimen of the meeting-houses
+of the olden time. Its pulpit, pews, and galleries
+retain their original form as when built in 1785. It is situated
+on the easternmost of the fine circlet of hills that
+incloses the valley of the Powow. This hill is well named,
+for here the melting glaciers left their most abundant deposit
+of boulders. A trolley line from Amesbury to Salisbury
+Beach passes this venerable edifice.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="rocky_hill_church" id="rocky_hill_church"></a>
+<img src="images/image088.jpg" width="600" height="387" alt="ROCKY HILL CHURCH, BUILT IN 1785" title="ROCKY HILL CHURCH, BUILT IN 1785" />
+<span class="caption">ROCKY HILL CHURCH, BUILT IN 1785</span>
+</div>
+
+<p>Salisbury Beach, now covered with summer cottages,
+will hardly be recognized as the place described by Whittier
+in his "Tent on the Beach." When that poem was
+written, not one of these hundreds of cottages was built,
+and those who encamped here brought tents. Hampton
+Beach is a continuation of Salisbury Beach beyond the
+state line into New Hampshire. It has given its name to
+one of the most notable of Whittier's poems, and several
+ballads refer to it. "The Wreck of Rivermouth" has for
+its scene the mouth of the Hampton River, which, winding
+down from the uplands across salt meadows, and
+dividing this beach, finds its outlet to the sea. At the<span class="pagenum"><a name="Page_89" id="Page_89">[Pg 89]</a></span>
+northern end of the beach is the picturesque promontory
+of Boar's Head, and eastward are seen the Isles of Shoals,
+and in the further distance the blue disk of Agamenticus.
+Whittier describes the place with his usual exactness:&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"And fair are the sunny isles in view<br /></span>
+<span class="i1">East of the grisly Head of the Boar,<br /></span>
+<span class="i0">And Agamenticus lifts its blue<br /></span>
+<span class="i1">Disk of a cloud the woodlands o'er;<br /></span>
+<span class="i0">And southerly, when the tide is down,<br /></span>
+<span class="i0">'Twixt white sea-waves and sand-hills brown,<br /></span>
+<span class="i0">The beach-birds dance and the gray gulls wheel<br /></span>
+<span class="i0">Over a floor of burnished steel."<br /></span>
+</div></div>
+
+<div class="figcenter" style="width: 600px;">
+<a name="interior_rocky_hill_church" id="interior_rocky_hill_church"></a>
+<img src="images/image089.jpg" width="600" height="435" alt="INTERIOR OF ROCKY HILL CHURCH" title="INTERIOR OF ROCKY HILL CHURCH" />
+<span class="caption">INTERIOR OF ROCKY HILL CHURCH</span>
+</div>
+
+<p>Rev. J. C. Fletcher, in an article published in 1879,
+says that he was with Whittier at Salisbury Beach, in
+the summer of 1861, when he saw the remarkable mirage
+commemorated in these lines in "The Tent on the
+Beach:"&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i1">"Sometimes, in calms of closing day,<br /></span>
+<span class="i1">They watched the spectral mirage play;<br /></span>
+<span class="i0">Saw low, far islands looming tall and nigh,<br /></span>
+<span class="i0">And ships, with upturned keels, sail like a sea the sky."<br /></span>
+</div></div>
+
+<p><span class="pagenum"><a name="Page_90" id="Page_90">[Pg 90]</a></span></p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="mouth_hampton_river" id="mouth_hampton_river"></a>
+<img src="images/image090.jpg" width="600" height="369" alt="MOUTH OF HAMPTON RIVER
+Scene of &quot;The Wreck of Rivermouth&quot;" title="MOUTH OF HAMPTON RIVER
+Scene of &quot;The Wreck of Rivermouth&quot;" />
+<span class="caption">MOUTH OF HAMPTON RIVER<br />
+<small>Scene of &quot;The Wreck of Rivermouth&quot;</small></span>
+</div>
+
+<p>Mr. Fletcher was spending several weeks that summer
+with his family in a tent on the beach. He says: "Here we
+were visited by friends from Newburyport and Amesbury.
+None were more welcome than Whittier and his sister,
+and two nieces, one of whom, Lizzie, as we called her,
+had the beautiful eyes&mdash;the grand features in both the
+poet and his sister. Those eyes of his sister Elizabeth
+are most touchingly alluded to by Whittier when he refers
+to his sister's childhood in the old Snow-bound homestead:&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"'Lifting her large, sweet, asking eyes,<br /></span>
+<span class="i1">Now bathed in the unfading green<br /></span>
+<span class="i0">And holy peace of Paradise.'<br /></span>
+</div></div>
+
+<p>"One day, late in the afternoon, I recall how Elizabeth was
+enjoying a cup of tea in the family tent, while Whittier
+and myself were seated upon a hillock of sand outside.
+It had been a peculiarly beautiful day, and as the sun
+began to decline, the calm sea was lit up with a dreamy
+grandeur wherein there seemed a mingling of rose-tint and
+color of pearls. All at once we noticed that the far-off<span class="pagenum"><a name="Page_91" id="Page_91">[Pg 91]</a></span>
+Isles of Shoals, of which in clear days only the lighthouse
+could be seen, were lifted into the air, and the vessels
+out at sea were seen floating in the heavens. Whittier
+told me that he never before witnessed such a sight. We
+called to the friends in the tent to come and enjoy the
+scene with us. Elizabeth Whittier was then seeing from
+the shore the very island, reduplicated in the sky, where
+two years afterwards she met that fatal accident which,
+after months of suffering, terminated her existence."</p>
+
+<div class="figcenter" style="width: 462px;">
+<a name="salisbury_beach_before_cottages" id="salisbury_beach_before_cottages"></a>
+<img src="images/image091.jpg" width="462" height="600" alt="SALISBURY BEACH, BEFORE THE COTTAGES WERE BUILT
+Scene of &quot;The Tent on the Beach&quot;" title="SALISBURY BEACH, BEFORE THE COTTAGES WERE BUILT
+Scene of &quot;The Tent on the Beach&quot;" />
+<span class="caption">SALISBURY BEACH, BEFORE THE COTTAGES WERE BUILT<br />
+<small>Scene of &quot;The Tent on the Beach&quot;</small></span>
+</div>
+
+<p><span class="pagenum"><a name="Page_92" id="Page_92">[Pg 92]</a></span></p>
+<p>Elizabeth fell upon the rocks at Appledore in August,
+1863. It was not thought at the time that she was seriously
+injured, and perhaps Mr. Fletcher is wrong in attributing
+her death solely to this cause. For many years
+before and after the death of his sister, Mr. Whittier spent
+some days each summer at Appledore. It was at his insistence
+that Celia Thaxter undertook her charming book,
+"Among the Isles of Shoals."</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="hampton_river_marshes" id="hampton_river_marshes"></a>
+<img src="images/image092.jpg" width="600" height="426" alt="HAMPTON RIVER MARSHES" title="HAMPTON RIVER MARSHES" />
+<span class="caption">HAMPTON RIVER MARSHES</span>
+</div>
+
+<p>Other ballads of this region are "The Changeling,"
+and "The New Wife and the Old." The ancient house
+which is the scene of the last named poem is still standing,
+and may be seen by passengers on the Boston and
+Maine road, near the Hampton station. It has a gambrel
+roof, and is on the left when the train is going westward.
+On the right as the train passes Hampton Falls station
+may be seen in the distance, shaded by magnificent elms,
+the house of Miss Gove, in which Whittier died. It was
+upon these broad meadows and the distant line of the
+beach that his eyes rested, when he took his last look<span class="pagenum"><a name="Page_93" id="Page_93">[Pg 93]</a></span>
+upon the scenery he loved and has so faithfully pictured
+in his verse. The photographs here reproduced were taken
+by his grandnephew a few days before his death, and the
+last time he stood on the balcony where his form appears.
+The room in which he died opens upon this balcony. It
+was his cousin, Joseph Cartland, who happened to stand
+by his left side when the picture was taken. This house
+is worthy of notice aside from its connection with Whittier,
+as one of the finest specimens of colonial architecture,
+its rooms filled with the furniture and heirlooms of
+the ancestors of the present proprietor. A trolley line
+from Amesbury now passes the house.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="house_miss_gove" id="house_miss_gove"></a>
+<img src="images/image093.jpg" width="600" height="468" alt="HOUSE OF MISS GOVE, HAMPTON FALLS" title="HOUSE OF MISS GOVE, HAMPTON FALLS" />
+<span class="caption">HOUSE OF MISS GOVE, HAMPTON FALLS</span>
+</div>
+
+<hr style="width: 45%;" />
+<div class="figcenter" style="width: 600px;">
+<a name="chamber_died" id="chamber_died"></a>
+<img src="images/image094.jpg" width="600" height="365" alt="CHAMBER IN WHICH WHITTIER DIED" title="CHAMBER IN WHICH WHITTIER DIED" />
+<span class="caption">CHAMBER IN WHICH WHITTIER DIED</span>
+</div>
+
+<p>As a coincidence that was at the time considered singular,
+the superstition in regard to the matter of thirteen
+at table was recalled when Whittier dined for the last
+time with his friends. During the summer he had lodged
+at the house of Miss Gove, taking his meals with others
+of his party in a house adjoining. One evening all had<span class="pagenum"><a name="Page_94" id="Page_94">[Pg 94]</a></span>
+taken their places at the table except Mr. Whittier. His
+niece noticed there were twelve seated, and without comment
+took her plate to a small table in a corner of the
+room. When her uncle came in, he said in a cheery way,
+"Why, Lizzie, what has thee been doing, that they put
+thee in the corner?" Some evasive reply was made, but
+probably Mr. Whittier guessed the reason, for he was
+well versed in such superstitions, and sometimes laughingly
+heeded them. In a few minutes, Mr. Wakeman,
+the Baptist clergyman of the village, just returned from
+his summer vacation, came in unexpectedly, and took the
+thirteenth seat that had just been vacated. Whittier's
+grandnephew, to again break the omen, took his plate
+over to the table in the corner with his mother. It was
+all done in a playful way, but the matter was recalled
+while we were at breakfast next morning. The news then
+came of the paralysis which had affected Mr. Whittier
+while dressing to join us. He never again came to the
+dining room. Another incident of the same evening was
+more impressive, and remains to this day inexplicable.
+After sitting for a while in the parlor conversing with<span class="pagenum"><a name="Page_95" id="Page_95">[Pg 95]</a></span>
+friends, he took his candle to retire, and as he said "Goodnight"
+to his friends, and passed out of the door, an old
+clock (the clock over the desk) struck once! It had not
+been wound up for years, and as no one present had ever
+before heard it strike, it excited surprise&mdash;the more so
+as the hands were not in position for striking. It was
+an incident that had a marked effect upon a party little
+inclined to heed omens; and in many ways, without success,
+we tried to get the clock to strike once more.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="amesbury_library" id="amesbury_library"></a>
+<img src="images/image095.jpg" width="600" height="392" alt="AMESBURY PUBLIC LIBRARY" title="AMESBURY PUBLIC LIBRARY" />
+<span class="caption">AMESBURY PUBLIC LIBRARY</span>
+</div>
+
+<p>A beautiful little lake in the northern part of Amesbury,
+formerly known as Kimball's Pond, is the scene of
+"The Maids of Attitash." Its present name was conferred
+by Whittier because huckleberries abound in this
+region, and Attitash is the Indian name for this berry.
+His poem pictures the maidens with "baskets berry-filled,"
+watching</p>
+
+<div class="poem"><div class="stanza">
+<span class="i4">... "in idle mood<br /></span>
+<span class="i0">The gleam and shade of lake and wood."<br /></span>
+</div></div>
+
+<p>In a letter to the editor of "The Atlantic" inclosing this
+ballad, he says of Attitash: "It is as pretty as St. Mary's<span class="pagenum"><a name="Page_96" id="Page_96">[Pg 96]</a></span>
+Lake which Wordsworth sings, in fact a great deal prettier.
+The glimpse of the Pawtuckaway range of mountains
+in Nottingham seen across it is very fine, and it has
+noble groves of pines and maples and ash trees." A
+trolley line from Amesbury to Haverhill passes this lake;
+but this is not the line which passes the Whittier birthplace.</p>
+
+<p>Annually, in the month of May, the Quarterly Meeting
+of the Society of Friends is held at Amesbury, and during
+the fifty-six years of Mr. Whittier's residence in the village,
+this was an occasion on which he kept open house,
+and wherever he happened to be, he came home to enjoy
+the company of friends, giving up all other engagements.
+He could not be detained in Boston or Danvers, or wherever
+else he might be, when the time for this meeting
+approached. It was an annual event in which his mother
+and sister took much interest, and after they passed away,
+the custom was maintained with the same spirit of hospitality
+with which they had invested it, to the last year
+of his life.</p>
+
+<p>Among Mr. Whittier's neighbors was an aged pair, a
+brother and sister, whose simple, old-fashioned ways and
+quaint conversation he much enjoyed. He thought they
+worked harder than they had need to do, as the infirmities
+of age fell upon them, for they had accumulated a
+competency, and on one occasion he suggested that they
+leave for younger hands some of the labor to which they
+had been accustomed. But the sister said, "We must lay
+by something for our last sickness, and have enough left
+to bury us." Whittier replied, "Mary, did thee ever know
+any one in his last sickness to stick by the way for want
+of funds?" The beautiful public library of Amesbury
+was built with the money of this aged pair, whose will was
+made at the suggestion of Whittier. Part of the money
+Whittier left to hospitals and schools would have been
+given to this library, had he not known that it was provided
+for by his generous neighbors.</p>
+
+<p><span class="pagenum"><a name="Page_97" id="Page_97">[Pg 97]</a></span></p>
+
+<div class="figcenter" style="width: 460px;">
+<a name="whittier_49" id="whittier_49"></a>
+<img src="images/image097.jpg" width="460" height="600" alt="WHITTIER AT THE AGE OF FORTY-NINE" title="WHITTIER AT THE AGE OF FORTY-NINE" />
+<span class="caption">WHITTIER AT THE AGE OF FORTY-NINE</span>
+</div>
+
+<p>In his poem "The Common Question," Whittier refers
+to a saying of his pet parrot, "Charlie," a bird that
+afforded him much amusement, and sometimes annoyance,
+by his tricks and manners. His long residence in this
+Quaker household had the effect to temper his vocabulary,
+and he almost forgot some phrases his ungodly captors
+had taught him. But there would be occasional relapses.
+He had the freedom of the house, for Whittier
+objected to having him caged. One Sunday morning,
+when people were passing on the way to meeting, Charlie
+had gained access to the roof, and mounted one of the<span class="pagenum"><a name="Page_98" id="Page_98">[Pg 98]</a></span>
+chimneys. There he stood, dancing and using language
+he unfortunately had not quite forgotten, to the amazement
+of the church-goers! Whatever Quaker discipline
+he received on this occasion did not cure him of the
+chimney habit, but some time later he was effectually
+cured; for while dancing on this high perch he fell down
+one of the flues and was lost for some days. At last his
+stifled voice was heard in the parlor, in the wall over the
+mantel. A pole was let down the flue and he was rescued,
+but so sadly demoralized that he could only faintly
+whisper, "What does Charlie want?" He died from the
+effect of this accident, but we will not dismiss him without
+another story in which he figures: He had the bad
+habit of nipping at the leg of a person whose trousers
+happened to be hitched above the top of the boot. One
+day Mr. Whittier was being worn out by a prosy harangue
+from a visitor who sat in a rocking-chair, and swayed
+back and forth as he talked. As he rocked, Whittier
+noticed that his trousers were reaching the point of danger,
+and now at length he had something that interested
+him. Charlie was sidling up unseen by the orator. There
+was a little nip followed by a sharp exclamation, and the
+thread of the discourse was broken! The relieved poet
+now had the floor as an apologist for his discourteous
+parrot.</p>
+
+<p>At a time when Salmon P. Chase was in Lincoln's Cabinet,
+but was beginning to think of the possibility of supplanting
+him at the next presidential election, he visited
+Massachusetts, and called upon his old anti-slavery friend,
+Mr. Whittier. Chase told him among other things that
+he did not like Abraham Lincoln's stories. Whittier said,
+"But do they not always have an application, like the
+parables?" "Oh, yes," said Chase, "but they are not
+decent like the parables!"</p>
+
+<p>Henry Taylor was a village philosopher of Amesbury
+given to the discussion of high themes in a somewhat
+eccentric manner, and Whittier had a warm side for such<span class="pagenum"><a name="Page_99" id="Page_99">[Pg 99]</a></span>
+odd characters. Once when Emerson was his guest, he
+invited Taylor to meet him, knowing that the Concord
+philosopher would be amused if not otherwise interested
+in his Amesbury brother. Taylor found him a good listener,
+and gave him the full benefit of his theories and
+imaginings. Next morning Whittier called on him to inquire
+what he thought of Emerson. "Oh," said he, "I
+find your friend a very intelligent man. He has adopted
+some of my ideas."</p>
+
+<div class="
+figcenter" style="width: 600px;">
+<a name="wood_giant" id="wood_giant"></a>
+<img src="images/image099.jpg" width="600" height="341" alt="THE WOOD GIANT, AT STURTEVANT&#39;S, CENTRE HARBOR
+
+&quot;Alone, the level sun before;
+Below, the lake&#39;s green islands;
+Beyond, in misty distance dim,
+The rugged Northern Highlands.&quot;
+" title="THE WOOD GIANT, AT STURTEVANT&#39;S, CENTRE HARBOR
+
+&quot;Alone, the level sun before;
+Below, the lake&#39;s green islands;
+Beyond, in misty distance dim,
+The rugged Northern Highlands.&quot;
+" />
+<span class="caption">THE WOOD GIANT, AT STURTEVANT&#39;S, CENTRE HARBOR<br />
+
+
+<span class="poem"><span class="stanza">
+<small><span class="i12">&quot;Alone, the level sun before;<br /></span>
+<span class="i14">Below, the lake&#39;s green islands;<br /></span>
+<span class="i12">Beyond, in misty distance dim,<br /></span>
+<span class="i14">The rugged Northern Highlands.&quot;<br /></span>
+</small></span></span>
+</span></div>
+
+<p>The likeness of Whittier on page <a href="#Page_97">97</a> is from a daguerreotype
+taken in October, 1856, and has never before been
+published in any volume written by or about the poet.
+Mr. Thomas E. Boutelle, the artist who took this daguerreotype,
+is now living in Amesbury at the age of eighty-five.
+He tells me how he happened to get this picture,&mdash;a
+rather difficult feat, as it was hard to induce the poet to
+sit for his portrait. He had set up a daguerrean saloon in
+the little square near Whittier's house, and Whittier often<span class="pagenum"><a name="Page_100" id="Page_100">[Pg 100]</a></span>
+came in for a social chat, but persistently refused to give
+a sitting. One day he came in with his younger brother
+Franklin, whose picture he wanted. When it was finished,
+Franklin said, "Now, Greenleaf, I want your picture."
+After much persuasion Greenleaf consented, and Mr.
+Boutelle showed him the plate before it was fully developed,
+with the remark that he thought he could do better
+if he might try again. By this bit of strategy he secured
+the extra daguerreotype here reproduced, but he took care
+not to show it in Amesbury, for fear Whittier would call
+it in. He took it to Exeter, N. H., and put it in a show-case
+at his door. His saloon was burned, and all he saved
+was this show-case and the daguerreotype, which many of
+the poet's old friends think to be his best likeness of that
+period.</p>
+
+<p>Several of Whittier's poems referring to New Hampshire
+scenery celebrate particular trees remarkable for age and
+size. For these giants of the primeval forest he ever had
+a loving admiration. The great elms that shade the house
+in which he died would no doubt have had tribute in verse
+if his life had been spared. He invited the attention of
+every visitor to them. The immense pine on the Sturtevant
+farm, near Centre Harbor, called out a magnificent
+tribute in his poem "The Wood Giant." Our engraving
+on page <a href="#Page_99">99</a> gives some idea of "the Anakim of pines."
+There is a grove at Lee, N. H., on the estate of his dearly-loved
+cousins, the Cartlands, to which he refers in his
+poem "A Memorial:"&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Green be those hillside pines forever,<br /></span>
+<span class="i1">And green the meadowy lowlands be,<br /></span>
+<span class="i0">And green the old memorial beeches,<br /></span>
+<span class="i1">Name-carven in the woods of Lee!"<br /></span>
+</div></div>
+
+<p>There is a "Whittier Elm" at West Ossipee, and indeed
+wherever he chose a summer resort, some wood giant still
+bears his name.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="cartland_house" id="cartland_house"></a>
+<img src="images/image101.jpg" width="600" height="437" alt="THE CARTLAND HOUSE, NEWBURYPORT
+Where Whittier spent the last winter of his life. A century ago the
+residence of the father of Harriet Livermore." title="THE CARTLAND HOUSE, NEWBURYPORT
+Where Whittier spent the last winter of his life. A century ago the
+residence of the father of Harriet Livermore." />
+<span class="caption">THE CARTLAND HOUSE, NEWBURYPORT<br />
+<small>Where Whittier spent the last winter of his life. A century ago the
+residence of the father of Harriet Livermore.</small></span>
+</div>
+
+<p>Visitors to Whittier-Land will find an excursion to Oak<span class="pagenum"><a name="Page_101" id="Page_101">[Pg 101]</a></span>
+Knoll, in Danvers, to be full of interest. Here the poet,
+after the marriage of his niece, spent a large part of each
+of the last fifteen years of his life in the family of his
+cousins, the Misses Johnson and Mrs. Woodman. Without
+giving up his residence in Amesbury, where his house
+was always kept open for him during these years by Hon.
+George W. Cate, he found in the beautiful seclusion of
+the fine estate at Oak Knoll a restful and congenial home.
+Many souvenirs of the poet are here treasured, and the
+historical associations of the place are worthy of note.
+Here lived the Rev. George Burroughs, who suffered death
+as a wizard more than two centuries ago. He was a man
+of immense strength of muscle, and his astonishing athletic
+feats were cited at his trial as evidence of his dealings
+with the Evil One. The well of his homestead is shown
+under the boughs of an immense elm, and the canopy now
+over it was the sounding-board of the pulpit of an ancient<span class="pagenum"><a name="Page_102" id="Page_102">[Pg 102]</a></span>
+church of the parish so unenviably identified with the
+witchcraft delusion.</p>
+
+<p>Inquiries are sometimes made in regard to the places
+in Boston associated with the memory of Whittier. His
+first visit to the city was in his boyhood, when he came as
+the guest of Nathaniel Greene, a distant kinsman of his,
+who was editor of the "Statesman" and postmaster of
+Boston. Many of his earliest poems were published in the
+"Statesman" under assumed names, and until lately never
+recognized as his. Not one of these juvenile productions,
+of which I have happened upon many specimens, was ever
+collected. When he was editing the "Manufacturer," he
+boarded with the publisher of that paper, Rev. Mr. Collier,
+at No. 30 Federal Street. When visiting Boston in
+middle life, he felt most at home in the old Marlboro
+Hotel on Washington Street. He would often leave the
+hotel for a morning walk, and find a hearty welcome at
+the breakfast hour from his dear friends, Mr. and Mrs.
+James T. Fields, at No. 148 Charles Street. In later life,
+at the home of Governor Claflin, at No. 63 Mount Vernon
+Street, he was frequently an honored guest. It was here
+he first met Elizabeth Stuart Phelps, who gives this account
+of their meeting: "On this morning he came in
+across the thick carpet with that nervous but soft step
+which every one who ever saw him remembers. Straight
+as his own pine tree, high of stature, and lofty of mien,
+he moved like a flash of light or thought. The first impression
+which one received was of such eagerness to see
+his friends that his heart outran his feet. He seemed
+to suppose that he was receiving, not extending the benediction;
+and he offered the delicate tribute to his friend
+of allowing him to perceive the sense of debt. It would
+have been the subtlest flattery, had he not been the most
+honest and straightforward of men. We talked&mdash;how can
+I say of what? Or of what not? We talked till our heads
+ached and our throats were sore; and when we had finished
+we began again. I remember being surprised at his<span class="pagenum"><a name="Page_103" id="Page_103">[Pg 103]</a></span>
+quick, almost boyish, sense of fun, and at the ease with
+which he rose from it into the atmosphere of the gravest,
+even the most solemn, discussion. He was a delightful
+converser, amusing, restful, stimulating, and inspiring
+at once." The winter of 1882-83 he spent at the Winthrop
+Hotel, on Bowdoin Street, where the Commonwealth
+Hotel now stands.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="whitefields_church" id="whitefields_church"></a>
+<img src="images/image103.jpg" width="600" height="421" alt="WHITEFIELD&#39;S CHURCH AND BIRTHPLACE OF GARRISON" title="WHITEFIELD&#39;S CHURCH AND BIRTHPLACE OF GARRISON" />
+<span class="caption">WHITEFIELD&#39;S CHURCH AND BIRTHPLACE OF GARRISON</span>
+</div>
+
+<p>A visit to Whittier-Land is incomplete if Old Newbury
+and Newburyport (originally one town) are left out of the
+itinerary. At the celebration of the two hundred and fiftieth
+anniversary of the settlement of Newbury, in 1885,
+a letter from Whittier was read in which he recites some
+of the reasons for his interest in the town. He says: "Although
+I can hardly call myself a son of the ancient town,
+my grandmother, Sarah Greenleaf of blessed memory, was
+its daughter, and I may therefore claim to be its grandson.
+Its genial and learned historian, Joshua Coffin, was my
+first school-teacher, and all my life I have lived in sight
+of its green hills, and in hearing of its Sabbath bells. Its<span class="pagenum"><a name="Page_104" id="Page_104">[Pg 104]</a></span>
+history and legends are familiar to me.... The town
+took no part in the witchcraft horror, and got none of
+its old women and town charges hanged for witches.
+'Goody' Morse had the spirit rappings in her house two
+hundred years earlier than the Fox girls did, and somewhat
+later a Newbury minister in wig and knee-buckles
+rode, Bible in hand, over to Hampton to lay a ghost who
+had materialized himself and was stamping up and down
+stairs in his military boots.... Whitefield set the example
+since followed by the Salvation Army, of preaching in its
+streets, and now lies buried under one of the churches with
+almost the honor of sainthood. William Lloyd Garrison
+was born in Newbury. The town must be regarded as
+the Alpha and Omega of the anti-slavery agitation."</p>
+
+<p>The grandmother to whom he refers was born in that
+part of the town nearest to his own birthplace. The outlet
+to Country Brook is nearly opposite the Greenleaf
+place, and Whittier's poem "The Home-Coming of the
+Bride" describes the crossing of the river and the bridal
+procession up the valley of the lesser stream, a part of
+which is known as Millvale because of the mills alluded
+to in the poem.</p>
+
+<p>The house in which Garrison was born is on School
+Street next to the Old South meeting-house, in which
+Whitefield preached, and under the pulpit of which his
+bones are deposited. Whitefield died in the house next
+to Garrison's birthplace. The ancient Coffin house, built
+in 1645, the home of Joshua Coffin, to whom Whittier addressed
+his poem "To My Old Schoolmaster," is on High
+Street, about half a mile below State Street. Whittier's
+cousins, Joseph and Gertrude Cartland, with whom he
+spent a large part of the last year of his life, lived at
+No. 244 High Street, at the corner of Broad.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_105" id="Page_105">[Pg 105]</a></span></p>
+<h2><big>WHITTIER'S SENSE OF HUMOR</big></h2>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_107" id="Page_107">[Pg 107]</a></span></p>
+<h2><a name="III" id="III"></a>III<br /><br />
+
+WHITTIER'S SENSE OF HUMOR</h2>
+
+
+<p>Few men of his day, of equal prominence, have been
+so greatly misunderstood as Whittier by the public which
+knows him only by the writings he allowed to be published.
+These reveal him on the one hand as an earnest reformer
+bitterly denouncing the sins of a guilty people, and on
+the other as a prophet of God, with a message of cheer
+to those who turn them from their evil ways. While
+slavery existed, he lashed the institution with a whip of
+scorpions, and in later years, in poems of exquisite sweetness,
+he sang of "The Eternal Goodness," and brought
+words of consolation and hope to despairing souls. In
+the popular mind there has been built up for him a reputation
+for extreme seriousness and even severity. To be
+sure, some of the poems in his collected works have witty
+and even merry lines, but they usually have a serious
+purpose. The real fun and frolic of his nature were
+known only to those privileged with his intimacy. He
+delighted at times in throwing off his mantle of prophecy,
+and unbending even to jollity, in his home life and among
+friends. The presence of a stranger was a check to such
+exuberance. And it was not from any unsocial habit that
+he fell into this restraint. It was because he found that
+the unguarded words of a public man are often given a
+weight they were not intended to bear. If he unbent as
+one might whose every word has not come to be thought
+of value, it led to misunderstandings. In his home and
+among near friends he revealed a charming readiness to
+engage in lively and frolicsome conversation.</p>
+
+<p><span class="pagenum"><a name="Page_108" id="Page_108">[Pg 108]</a></span></p>
+<p>Some stories illustrating his keen sense of humor, and
+specimens of verse written in rollicking vein for special
+occasions, which might not properly find place in a serious
+attempt at biography, I have thought might be allowed
+in such an informal work as this. Few of the lines
+I shall here give have ever appeared in any of his collected
+works, and some of them were never before in
+print. I am sure I do no wrong to his memory in thus
+bringing out a phase of his character which could not be
+fully treated in biography.</p>
+
+<p>I never heard him laugh aloud, but a merrier face and
+an eye that twinkled with livelier glee when thoroughly
+amused are not often seen. He would double up with
+mirth without uttering a sound,&mdash;his chuckle being visible
+instead of audible,&mdash;but this peculiar expression of
+jollity was irresistibly infectious. The faculty of seeing
+the humorous side of things he considered a blessing to
+be coveted, and he had a special pity for that class of
+philanthropists who cannot find a laugh in the midst of
+the miseries they would alleviate. A laugh rested him,
+and any teller of good stories, any writer of lively adventures,
+received a hearty greeting from him. He told
+Dickens that his "Pickwick Papers" had for years been
+his remedy for insomnia, and Sam Weller had helped him
+to many an hour of rested nerves. He loved and admired
+Longfellow and Lowell, and they were his most cherished
+friends, but the lively wit of Holmes had a special charm
+for him, and jolly times they had whenever they met.
+The witty talk and merry letters of Gail Hamilton, full
+as they were of a mad revelry of nonsense, were a great
+delight to him. It was not in praise of but in pity for
+Charles Sumner that he wrote:&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"No sense of humor dropped its oil<br /></span>
+<span class="i1">On the hard ways his purpose went;<br /></span>
+<span class="i0">Small play of fancy lightened toil;<br /></span>
+<span class="i1">He spake alone the thing he meant."<br /></span>
+</div></div>
+
+<p>As an illustration of his own way of speaking the thing<span class="pagenum"><a name="Page_109" id="Page_109">[Pg 109]</a></span>
+he did <i>not</i> mean, just for fun, take the following: More
+than thirty years ago, a Division of the Sons of Temperance
+was organized in Amesbury, and his niece, one of
+his household, joined it. Her turn came to edit a paper
+for the Division, and she asked her uncle to contribute
+something. He had often complained in a laughing way
+in regard to the late hours of the club, and had threatened
+to lock her out. This accounts for the tone of the
+following remarkable contribution to temperance literature
+from one of the oldest friends of the cause:&mdash;</p>
+
+<div class="poem"><div class="title">
+THE DIVISION</div>
+
+<div class="stanza">
+<span class="i0">"Dogs take it! Still the girls are out,"<br /></span>
+<span class="i2">Said Muggins, bedward groping,<br /></span>
+<span class="i0">"'T is twelve o'clock, or thereabout,<br /></span>
+<span class="i2">And all the doors are open!<br /></span>
+<span class="i0">I'll lock the doors another night,<br /></span>
+<span class="i2">And give to none admission;<br /></span>
+<span class="i0">Better to be abed and tight<br /></span>
+<span class="i2">Than sober at Division!"<br /></span>
+</div><div class="stanza">
+<span class="i0">Next night at ten o'clock, or more<br /></span>
+<span class="i2">Or less, by Muggins's guessing,<br /></span>
+<span class="i0">He went to bolt the outside door,<br /></span>
+<span class="i2">And lo! the key was missing.<br /></span>
+<span class="i0">He muttered, scratched his head, and quick<br /></span>
+<span class="i2">He came to this decision:<br /></span>
+<span class="i0">"Here 's something new in 'rithmetic,<br /></span>
+<span class="i2">Subtraction by Division!<br /></span>
+</div><div class="stanza">
+<span class="i0">"And then," said he, "it puzzles me,<br /></span>
+<span class="i2">I cannot get the right on 't,<br /></span>
+<span class="i0">Why temperance talk and whiskey spree<br /></span>
+<span class="i2">Alike should make a night on 't.<br /></span>
+<span class="i0">D 'ye give it up?" In Muggins's voice<br /></span>
+<span class="i2">Was something like derision&mdash;<br /></span>
+<span class="i0">"It 's just because between the boys<br /></span>
+<span class="i2">And girls there 's no Division!"<br /></span>
+</div></div>
+
+<div class="figcenter" style="width: 546px;">
+<a name="bearcamp_house" id="bearcamp_house"></a>
+<img src="images/image110.jpg" width="546" height="600" alt="BEARCAMP HOUSE, WEST OSSIPEE, N. H." title="BEARCAMP HOUSE, WEST OSSIPEE, N. H." />
+<span class="caption">BEARCAMP HOUSE, WEST OSSIPEE, N. H.</span>
+</div>
+
+<p>Whittier's favorite way of enjoying his annual vacation
+among the mountains was to go with a party of his relatives<span class="pagenum"><a name="Page_110" id="Page_110">[Pg 110]</a></span>
+and neighbors, and take possession of a little inn at
+West Ossipee, known as the "Bearcamp House." Sturtevant's,
+at Centre Harbor, was another of his resorts. At
+these places his party filled nearly every room. It was
+made up largely of young people, full of frolic and love of
+adventure. The aged poet could not climb with them to
+the tops of the mountains; but he watched their going and
+coming with lively interest, and of an evening listened to
+their reports and laughed over the effervescence of their
+enthusiasm. Two young farmers of West Ossipee, brothers
+named Knox, acted as guides to Chocorua. They had
+some success as bear hunters, and supplied the inn with<span class="pagenum"><a name="Page_111" id="Page_111">[Pg 111]</a></span>
+bear steaks. One day in September, 1876, the Knox
+brothers took a party of seven of Whittier's friends to the
+top of Chocorua, where they camped for the night among
+the traps that had been set for the bears. They heard the
+growling of the bears in the night, so the young ladies
+reported, with other blood-curdling incidents. Soon after
+the Knox brothers gave a husking at their barn,<a name="FNanchor_7_7" id="FNanchor_7_7"></a><a href="#Footnote_7_7" class="fnanchor">[7]</a> and the
+whole Bearcamp party was invited. Whittier wrote a poem
+for the occasion, and induced Lucy Larcom to read it for
+him as from an unknown author, although he sat among
+the huskers. It was entitled:&mdash;</p>
+
+<div class="poem"><div class="title">
+HOW THEY CLIMBED CHOCORUA</div>
+
+<div class="stanza">
+<span class="i0">Unto gallant deeds belong<br /></span>
+<span class="i0">Poet's rhyme and singer's song;<br /></span>
+<span class="i0">Nor for lack of pen or tongue<br /></span>
+<span class="i0">Should their praises be unsung,<br /></span>
+<span class="i4">Who climbed Chocorua!<br /></span>
+</div><div class="stanza">
+<span class="i0">O full long shall they remember<br /></span>
+<span class="i0">That wild nightfall of September,<br /></span>
+<span class="i0">When aweary of their tramp<br /></span>
+<span class="i0">They set up their canvas camp<br /></span>
+<span class="i4">In the hemlocks of Chocorua.<br /></span>
+</div><div class="stanza">
+<span class="i0">There the mountain winds were howling,<br /></span>
+<span class="i0">There the mountain bears were prowling,<br /></span>
+<span class="i0">And through rain showers falling drizzly<br /></span>
+<span class="i0">Glared upon them, grim and grisly,<br /></span>
+<span class="i4">The ghost of old Chocorua!<br /></span>
+</div><div class="stanza">
+<span class="i0">On the rocks with night mist wetted,<br /></span>
+<span class="i0">Keen his scalping knife he whetted,<br /></span>
+<span class="i0">For the ruddy firelight dancing<br /></span>
+<span class="i0">On the brown locks of Miss Lansing,<br /></span>
+<span class="i4">Tempted old Chocorua.<br /></span>
+</div><span class="pagenum"><a name="Page_112" id="Page_112">[Pg 112]</a></span>
+<div class="stanza">
+<span class="i0">But he swore&mdash;(if ghosts can swear)&mdash;<br /></span>
+<span class="i0">"No, I cannot lift the hair<br /></span>
+<span class="i0">Of that pale face, tall and fair,<br /></span>
+<span class="i0">And for <i>her</i> sake, I will spare<br /></span>
+<span class="i4">The sleepers on Chocorua."<br /></span>
+</div><div class="stanza">
+<span class="i0">Up they rose at blush of dawning,<br /></span>
+<span class="i0">Off they marched in gray of morning,<br /></span>
+<span class="i0">Following where the brothers Knox<br /></span>
+<span class="i0">Went like wild goats up the rocks<br /></span>
+<span class="i4">Of vast Chocorua.<br /></span>
+</div><div class="stanza">
+<span class="i0">Where the mountain shadow bald fell,<br /></span>
+<span class="i0">Merry faced went Addie Caldwell;<br /></span>
+<span class="i0">And Miss Ford, as gay of manner,<br /></span>
+<span class="i0">As if thrumming her piano,<br /></span>
+<span class="i4">Sang along Chocorua.<br /></span>
+</div><div class="stanza">
+<span class="i0">Light of foot, of kirtle scant,<br /></span>
+<span class="i0">Tripped brave Miss Sturtevant;<br /></span>
+<span class="i0">While as free as Sherman's bummer,<br /></span>
+<span class="i0">In the rations foraged Plummer,<br /></span>
+<span class="i4">On thy slope, Chocorua!<br /></span>
+</div><div class="stanza">
+<span class="i0">Panting, straining up the rock ridge,<br /></span>
+<span class="i0">How they followed Tip and Stockbridge,<br /></span>
+<span class="i0">Till at last, all sore with bruises,<br /></span>
+<span class="i0">Up they stood like the nine Muses,<br /></span>
+<span class="i4">On thy crown, Chocorua!<br /></span>
+</div><div class="stanza">
+<span class="i0">At their shout, so wild and rousing,<br /></span>
+<span class="i0">Every dun deer stopped his browsing,<br /></span>
+<span class="i0">And the black bear's small eyes glistened,<br /></span>
+<span class="i0">As with watery mouth he listened<br /></span>
+<span class="i4">To the climbers on Chocorua.<br /></span>
+</div><div class="stanza">
+<span class="i0">All the heavens were close above them,<br /></span>
+<span class="i0">But below were friends who loved them,&mdash;<br /></span>
+<span class="i0">And at thought of Bearcamp's worry,<br /></span>
+<span class="i0">Down they clambered in a hurry,&mdash;<br /></span>
+<span class="i4">Scurry down Chocorua.<br /></span>
+</div><div class="stanza">
+<span class="i0">Sore we miss the steaks and bear roast&mdash;<br /></span>
+<span class="i0">But withal for friends we care most;&mdash;<br /></span>
+<span class="i0">Give the brothers Knox three cheers,<br /></span>
+<span class="i0">Who to bring us back our <i>dears</i>,<br /></span>
+<span class="i4">Left bears on old Chocorua!<br /></span>
+</div></div>
+
+<p><span class="pagenum"><a name="Page_113" id="Page_113">[Pg 113]</a></span></p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="group_sturtevants" id="group_sturtevants"></a>
+<img src="images/image113.jpg" width="600" height="365" alt="GROUP AT STURTEVANT&#39;S, CENTRE HARBOR
+Gertrude Cartland at Whittier&#39;s left, Mrs. Wade and Joseph Cartland at
+his right. Mrs. Caldwell, wife of Whittier&#39;s nephew, at his left shoulder." title="GROUP AT STURTEVANT&#39;S, CENTRE HARBOR
+Gertrude Cartland at Whittier&#39;s left, Mrs. Wade and Joseph Cartland at
+his right. Mrs. Caldwell, wife of Whittier&#39;s nephew, at his left shoulder." />
+<span class="caption">GROUP AT STURTEVANT&#39;S, CENTRE HARBOR<br />
+<small>Gertrude Cartland at Whittier&#39;s left, Mrs. Wade and Joseph Cartland at
+his right. Mrs. Caldwell, wife of Whittier&#39;s nephew, at his left shoulder.</small></span>
+</div>
+
+<p><span class="pagenum"><a name="Page_114" id="Page_114">[Pg 114]</a></span></p>
+<p>The next day after the husking, Lucy Larcom and some
+others of the party prepared a burlesque literary exercise
+for the evening at the inn. She wrote a frolicsome poem,
+and others devised telegrams, etc., all of which were to
+surprise Whittier, who was to know nothing of the affair
+until it came off. When the evening came, the venerable
+poet took his usual place next the tongs, and the rest of
+the party formed a semicircle around the great fireplace.
+On such occasions Whittier always insisted on taking
+charge of the fire, as he did in his own home. He
+even took upon himself the duty of filling the wood-box.
+No one in his presence dared to touch the tongs. By and
+by telegrams began to be brought in by the landlord from
+ridiculous people in ridiculous situations. Some purported
+to come from an old poet who had the misfortune to be
+caught by his coat-tails in one of the Knox bear-traps on
+Chocorua. It was suggested that he might be the author
+of the poem read at the husking. Lucy Larcom, who, by
+the way, was another of the writers popularly supposed to
+be very serious minded, but who really was known among
+her friends as full of fun, read a poem addressed to the
+man in the bear-trap, entitled:&mdash;</p>
+
+
+<div class="poem"><div class="title">
+TO THE UNKNOWN AND ABSENT AUTHOR OF<br />
+"HOW THEY CLIMBED CHOCORUA"</div>
+
+<div class="stanza">
+<span class="i0">O man in the trap, O thou poet-man!<br /></span>
+<span class="i2">What on airth are you doin'?&mdash;<br /></span>
+<span class="i0">We haste to the husking as fast as we can,<br /></span>
+<span class="i2">&mdash;But where 's Mr. Bruin?<br /></span>
+</div><div class="stanza">
+<span class="i0">We listen, we wait for his sweet howl in vain,<br /></span>
+<span class="i2">Like the far storm resounding.<br /></span>
+<span class="i0">Brothers Knox ne'er will see Mr. Bruin again,<br /></span>
+<span class="i2">Through the dim moonlight bounding.<br /></span>
+</div><span class="pagenum"><a name="Page_115" id="Page_115">[Pg 115]</a></span>
+<div class="stanza">
+<span class="i0">For, thou man in the trap, O thou poet-y-man,<br /></span>
+<span class="i2">Scared to flight by thy singing,<br /></span>
+<span class="i0">Away through the mountainous forest he ran,<br /></span>
+<span class="i2">Like a hurricane winging.<br /></span>
+</div><div class="stanza">
+<span class="i0">Aye, the bear fled away, and his traps left behind,<br /></span>
+<span class="i2">For the use of the poet;<br /></span>
+<span class="i0">If an echo unearthly is borne on the wind&mdash;<br /></span>
+<span class="i2">'T is the man's&mdash;you may know it<br /></span>
+</div><div class="stanza">
+<span class="i0">By its tones of dismay, melancholy and loss,<br /></span>
+<span class="i2">O'er his coat-tails' sad ruin;<br /></span>
+<span class="i0">There 's a moan in the pine, and a howl o'er the moss&mdash;<br /></span>
+<span class="i2">But it 's he&mdash;'t is n't Bruin!<br /></span>
+</div><div class="stanza">
+<span class="i0">And the fire you see on the cliff in the air<a name="FNanchor_8_8" id="FNanchor_8_8"></a><a href="#Footnote_8_8" class="fnanchor">[8]</a><br /></span>
+<span class="i2">Is his eye-balls a-glarin'!<br /></span>
+<span class="i0">And the form that you call old Chocorua there<br /></span>
+<span class="i2">Is the poet up-rarin'!<br /></span>
+</div><div class="stanza">
+<span class="i0">And whenever the trees on the mountain-tops thrill<br /></span>
+<span class="i2">And the fierce winds they blow 'em,<br /></span>
+<span class="i0">In most awful pause every bear shall stand still&mdash;<br /></span>
+<span class="i2">He 's writing a poem!<br /></span>
+</div></div>
+
+<p>Whittier evidently enjoyed the fun, and after the rest had
+had their say, he remarked, "That old fellow in the bear-trap
+must be <i>in extremis</i>. He ought to make his will.
+Suppose we help him out!" He asked one of us to get
+pencil and paper and jot down the items of the will, each
+to make suggestions. It ended, of course, in his making
+the whole will himself, and doing it in verse. It is perhaps
+the only poem of his which he never wrote with
+his own hand. It came as rapidly as the scribe could take
+it. Every one at that fireside was remembered in this
+queer will&mdash;even the "boots" of the inn, the stage-driver,
+and others who were looking upon the sport from the
+doorway.</p>
+
+<p><span class="pagenum"><a name="Page_116" id="Page_116">[Pg 116]</a></span></p>
+<div class="poem"><div class="title">
+THE LAST WILL AND TESTAMENT
+OF THE MAN IN THE BEAR-TRAP</div>
+
+<div class="stanza">
+<span class="i0">Here I am at last a goner,<br /></span>
+<span class="i0">Held in hungry jaws like Jonah;<br /></span>
+<span class="i1">What the trap has left of me<br /></span>
+<span class="i1">Eaten by the bears will be.<br /></span>
+<span class="i0">So I make, on duty bent,<br /></span>
+<span class="i0">My last will and testament,<br /></span>
+<span class="i1">Giving to my Bearcamp friends<br /></span>
+<span class="i1">All my traps and odds and ends.<br /></span>
+<span class="i0">First, on Mr. Whittier,<br /></span>
+<span class="i0">That old bedstead I confer,<br /></span>
+<span class="i1">Whereupon, to vex his life,<br /></span>
+<span class="i1">Adam dreamed himself a wife.<br /></span>
+<span class="i0">I give Miss Ford the copyright<br /></span>
+<span class="i0">Of these verses I indite,<br /></span>
+<span class="i1">To be sung, when I am gone,<br /></span>
+<span class="i1">To the tune the cow died on.<br /></span>
+<span class="i0">On Miss Lansing I bestow<br /></span>
+<span class="i0">Tall Diana's hunting bow;<br /></span>
+<span class="i1">Where it is I cannot tell&mdash;<br /></span>
+<span class="i1">But if found 't will suit her well.<br /></span>
+<span class="i0">I bequeath to Mary Bailey<br /></span>
+<span class="i0">Yarn to knit a stocking daily.<a name="FNanchor_9_9" id="FNanchor_9_9"></a><a href="#Footnote_9_9" class="fnanchor">[9]</a><br /></span>
+<span class="i1">To Lizzie Pickard from my hat<br /></span>
+<span class="i1">A ribbon for her yellow cat.<br /></span>
+<span class="i0">And I give to Mr. Pickard<br /></span>
+<span class="i0">That old tallow dip that flickered,<br /></span>
+<span class="i1">Flowed and sputtered more or less<br /></span>
+<span class="i1">Over Franklin's printing press.<br /></span>
+<span class="i0">I give Belle Hume a wing<br /></span>
+<span class="i0">Of the bird that wouldn't sing;<a name="FNanchor_10_10" id="FNanchor_10_10"></a><a href="#Footnote_10_10" class="fnanchor">[10]</a><br /></span>
+<span class="i1">To Jettie for her dancing nights<br /></span>
+<span class="i1">Slippers dropped from Northern Lights.<br /></span>
+<span class="i0">And I give my very best<br /></span>
+<span class="i0">Beaver stove-pipe to Celeste&mdash;<br /></span>
+<span class="i1">Solely for her husband's wear,<br /></span>
+<span class="i1">On the day they're made a pair.<br /></span>
+<span class="i0">If a tear for me is shed,<br /></span>
+<span class="i0">And Miss Larcom's eyes are red&mdash;<br /></span><span class="pagenum"><a name="Page_117" id="Page_117">[Pg 117]</a></span>
+<span class="i1">Give her for her prompt relief<br /></span>
+<span class="i1">My last pocket-handkerchief!<a name="FNanchor_11_11" id="FNanchor_11_11"></a><a href="#Footnote_11_11" class="fnanchor">[11]</a><br /></span>
+<span class="i0">My cottage at the Shoals I give<br /></span>
+<span class="i0">To all who at the Bearcamp live&mdash;<br /></span>
+<span class="i1">Provided that a steamer plays<br /></span>
+<span class="i1">Down that river in dog-days&mdash;<br /></span>
+<span class="i0">Linking daily heated highlands<br /></span>
+<span class="i0">With the cool sea-scented islands&mdash;<br /></span>
+<span class="i1">With Tip her engineer, her skipper<br /></span>
+<span class="i1">Peter Hines, the old stage-whipper.<a name="FNanchor_12_12" id="FNanchor_12_12"></a><a href="#Footnote_12_12" class="fnanchor">[12]</a><br /></span>
+<span class="i0">To Addie Caldwell, who has mended<br /></span>
+<span class="i0">My torn coat, and trousers rended,<br /></span>
+<span class="i1">I bequeath, in lack of payment,<br /></span>
+<span class="i1">All that 's left me of my raiment.<br /></span>
+<span class="i0">Having naught beside to spare,<br /></span>
+<span class="i0">To my good friend, Mrs. Ayer,<br /></span>
+<span class="i1">And to Mrs. Sturtevant,<br /></span>
+<span class="i1">My last lock of hair I grant.<br /></span>
+<span class="i0">I make Mr. Currier<a name="FNanchor_13_13" id="FNanchor_13_13"></a><a href="#Footnote_13_13" class="fnanchor">[13]</a><br /></span>
+<span class="i0">Of this will executor;<br /></span>
+<span class="i1">And I leave the debts to be<br /></span>
+<span class="i1">Reckoned as his legal fee.<br /></span>
+</div></div>
+
+<p>This is all of the will that was written that evening; but
+the next morning, at breakfast, I found under my plate a
+note-sheet, with some penciling on it. As I opened it, Mr.
+Whittier, with a quizzical look, said, "Thee will notice
+that the bear-trap man has added a codicil to his will."
+This is the codicil:&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">And this pencil of a sick bard<br /></span>
+<span class="i0">I bequeath to Mr. Pickard;<br /></span>
+<span class="i1">Pledging him to write a very<br /></span>
+<span class="i1">Long and full obituary&mdash;<br /></span>
+<span class="i0">Showing by my sad example,<br /></span>
+<span class="i0">Useful life and virtues ample,<br /></span>
+<span class="i1">Wit and wisdom only tend<br /></span>
+<span class="i1">To bear-traps at one's latter end!<br /></span>
+</div></div>
+
+<p><span class="pagenum"><a name="Page_118" id="Page_118">[Pg 118]</a></span></p>
+<p>I had to go back to my editorial desk in Portland that
+day, and immediately received there this note from Mr.
+Whittier:&mdash;</p>
+
+<p>"<span class="smcap">Dear Mr. P.</span>,&mdash;Don't print in thy paper my foolish
+verses, which thee copied. They are hardly consistent
+with my years and 'eminent gravity,' and would make
+'the heathen rage, and the people imagine vain things.'"</p>
+
+<p>I had no thought at the time of giving to the public this
+jolly side of Whittier's character, but do it now with little
+misgiving, as it is realized by every one that "a little
+nonsense now and then is relished by the wisest men."
+Whittier's capacity for serious work is well known, and
+his love of play never interfered with it. An earnest man
+without a sense of humor is a machine without a lubricant,
+worn out before its work is done. There can be no
+doubt that Whittier owed his length of days to his happy
+temperament.</p>
+
+<p>Here is a story of Whittier told by Alice Freeman
+Palmer: One evening they sat in Governor Claflin's
+library, in Boston, and he was taking his rest telling
+ghost stories. Mrs. Claflin had given strict orders that
+no visitor be allowed to intrude on Mr. Whittier when
+he was resting. Suddenly, at the crisis of a particularly
+interesting story, there was a commotion in the hall, and
+the rest of that story was not told. A lady had called to
+see the poet, and would not be denied. The domestic
+could not stop her, and she came straight into the library.
+She walked up to Whittier and seized both his hands,
+saying, "Mr. Whittier, this is the supreme moment of
+my life!" The poor man in his distress blushed like a
+school-girl, and shifted from one foot to the other; he
+managed to get his hands free, and put them behind him
+for further security. And what do you think he said?
+All he said was, "Is it?" Miss Freeman thought a third
+party in the way, and slipped out. As she was going upstairs,
+she heard a quick step behind her, and Whittier
+took her by the shoulder and shook her, saying as if angry,<span class="pagenum"><a name="Page_119" id="Page_119">[Pg 119]</a></span>
+"Alice Freeman, I believe thee has been laughing
+at me!" She could not deny it. "What would thee do,
+Alice Freeman, if a man thee never saw should come up
+in that way to thee, take both hands, and tell thee it was
+the supreme moment of his life?"</p>
+
+<p>Probably the most seriously dangerous position in
+which he was ever placed was on the occasion of the looting
+and burning of Pennsylvania Hall, in the spring of
+1838. His editorial office was in the building, and for
+two or three days the mob had been threatening its destruction
+before they accomplished it. It was not safe for
+him to go into the street except in disguise. And yet it
+was at this very time that he wrote the following humorous
+skit, never before in print. Theodore D. Weld had
+the year before made a contract of perpetual bachelorhood
+with Whittier, and yet he chose this troublous time
+to marry the eloquent South Carolina Quakeress, Angelina
+Grimké, who had freed her slaves and come North
+to rouse the people, and was creating a sensation on the
+lecture platform. Her burning words in Pennsylvania
+Hall had helped to make the mob furious. Whittier's
+humorous arraignment of his friend for breaking his promise
+of celibacy was written at this critical time, and
+he was obliged to disguise himself when he carried his
+epithalamium on the wedding night to the door of the
+bridegroom. He had been invited to assist at the wedding
+service, but as the bride was marrying "out of society,"
+Whittier's orthodoxy compelled him to decline the invitation.</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Alack and alas! that a brother of mine,<br /></span>
+<span class="i1">A bachelor sworn on celibacy's altar,<br /></span>
+<span class="i0">Should leave me to watch by the desolate shrine,<br /></span>
+<span class="i1">And stoop his own neck to the enemy's halter!<br /></span>
+<span class="i0">Oh the treason of Benedict Arnold was better<br /></span>
+<span class="i1">Than the scoffing at Love, and then <i>sub rosa</i> wooing;<br /></span>
+<span class="i0">This mocking at Beauty, yet wearing her fetter&mdash;<br /></span>
+<span class="i1">Alack and alas for such bachelor doing!<br /></span>
+</div><span class="pagenum"><a name="Page_120" id="Page_120">[Pg 120]</a></span><div class="stanza">
+<span class="i0">"Oh the weapons of Saul are the Philistine's prey!<br /></span>
+<span class="i1">Who shall stand when the heart of the champion fails him;<br /></span>
+<span class="i0">Who strive when the mighty his shield casts away,<br /></span>
+<span class="i1">And yields up his post when a woman assails him?<br /></span>
+<span class="i0">Alone and despairing thy brother remains<br /></span>
+<span class="i1">At the desolate shrine where we stood up together,<br /></span>
+<span class="i0">Half tempted to envy thy self-imposed chains,<br /></span>
+<span class="i1">And stoop his own neck for the noose of the tether!<br /></span>
+</div><div class="stanza">
+<span class="i0">"So firm and yet false! Thou mind'st me in sooth<br /></span>
+<span class="i1">Of St. Anthony's fall when the spirit of evil<a name="FNanchor_14_14" id="FNanchor_14_14"></a><a href="#Footnote_14_14" class="fnanchor">[14]</a><br /></span>
+</div><div class="stanza">
+<span class="i4"><b>.&nbsp;&nbsp;&nbsp;     .&nbsp;&nbsp;&nbsp;     .&nbsp;&nbsp;&nbsp;     .&nbsp;&nbsp;&nbsp;     .</b><br /></span>
+</div><div class="stanza">
+<span class="i1">Filled the cell of his rest with imp, dragon and devil;<br /></span>
+<span class="i0">But the Saint never lifted his eyes from the Book<br /></span>
+<span class="i1">Till the tempter appeared in the guise of a woman;<br /></span>
+<span class="i0">And her voice was so sweet that he ventured one look,<br /></span>
+<span class="i1">And the devil rejoiced that the Saint had proved human!"<br /></span>
+</div></div>
+
+<p>In 1874, Gail Hamilton's niece was married at her
+house in Hamilton, and she sent a grotesque invitation
+to Whittier, asking him to come to her wedding, and prescribing
+a ridiculous costume he might wear. As a postscript
+she mentioned that it was her niece who was to be
+married. Whittier sent this reply, pretending not to have
+noticed the postscript, but finally waking up to the fact
+that she was not herself to be the bride:&mdash;</p>
+
+
+<div class="poem"><div class="stanza">
+<span class="i8"><span class="smcap">Amesbury,</span> 12th mo. 29th, 1874.</span><br />
+</div><div class="title">
+
+GAIL HAMILTON'S WEDDING</div>
+
+<div class="stanza">
+<span class="i0">"Come to my wedding," the missive runs,<br /></span>
+<span class="i1">"Come hither and list to the holy vows;<br /></span>
+<span class="i0">If you miss this chance you will wait full long<br /></span>
+<span class="i1">To see another at Gail-a House!"<br /></span>
+</div><div class="stanza">
+<span class="i0"><i>Her</i> wedding! What can the woman expect?<br /></span>
+<span class="i1">Does she think her friends can be jolly and glad?<br /></span><span class="pagenum"><a name="Page_121" id="Page_121">[Pg 121]</a></span>
+<span class="i0">Is it only the child who sighs and grieves<br /></span>
+<span class="i1">For the loss of something he never had?<br /></span>
+</div><div class="stanza">
+<span class="i0">Yet I say to myself, Is it strange that she<br /></span>
+<span class="i1">Should choose the way that we know is good<br /></span>
+<span class="i0">What right have we to grumble and whine<br /></span>
+<span class="i1">In a pitiful dog-in-the-manger mood?<br /></span>
+</div><div class="stanza">
+<span class="i0">What boots it to maunder with "if" and "perhaps,"<br /></span>
+<span class="i1">And "it might have been" when we know it could n't,<br /></span>
+<span class="i0">If she had been willing (a vain surmise),<br /></span>
+<span class="i1">It 's ten to one that Barkis would n't.<br /></span>
+</div><div class="stanza">
+<span class="i0">'T was pleasant to think (if it <i>was</i> a dream)<br /></span>
+<span class="i1">That our loving homage her need supplied,<br /></span>
+<span class="i0">Humbler and sadder, if wiser, we walk<br /></span>
+<span class="i1">To feel her life from our own lives glide.<br /></span>
+</div><div class="stanza">
+<span class="i0">Let her go, God bless her! I fling for luck<br /></span>
+<span class="i1">My old shoe after her. Stay, what 's this?<br /></span>
+<span class="i0">Is it all a mistake? The letter reads,<br /></span>
+<span class="i1">"My <i>niece</i>, you must know, is the happy miss."<br /></span>
+</div><div class="stanza">
+<span class="i0">All 's right! To grind out a song of cheer<br /></span>
+<span class="i1">I set to the crank my ancient muse.<br /></span>
+<span class="i0">Will somebody kiss that bride for me?<br /></span>
+<span class="i1">I fling with my blessing, both boots and shoes!<br /></span>
+</div><div class="stanza">
+<span class="i0">To the lucky bridegroom I cry all hail!<br /></span>
+<span class="i1">He is sure of having, let come what may,<br /></span>
+<span class="i0">The sage advice of the wisest aunt<br /></span>
+<span class="i1">That ever her fair charge gave away.<br /></span>
+</div><div class="stanza">
+<span class="i0">The Hamilton bell, if bell there be,<br /></span>
+<span class="i1">Methinks is ringing its merriest peal;<br /></span>
+<span class="i0">And, shades of John Calvin! I seem to see<br /></span>
+<span class="i1">The hostess treading the wedding reel!<br /></span>
+</div><div class="stanza">
+<span class="i0">The years are many, the years are long,<br /></span>
+<span class="i1">My dreams are over, my songs are sung,<br /></span>
+<span class="i0">But, out of a heart that has not grown cold,<br /></span>
+<span class="i1">I bid God-speed to the fair and young.<br /></span><span class="pagenum"><a name="Page_122" id="Page_122">[Pg 122]</a></span>
+</div><div class="stanza">
+<span class="i0">All joy go with them from year to year;<br /></span>
+<span class="i1">Never by me shall their pledge be blamed<br /></span>
+<span class="i0">Of the perfect love that has cast out fear,<br /></span>
+<span class="i1">And the beautiful hope that is not ashamed!<br /></span>
+</div></div>
+
+<p>An aged Quaker friend from England, himself a bachelor,
+was once visiting Mr. Whittier, and was shown to his
+room by the poet, when the hour for retiring came.
+Soon after, he was heard calling to his host in an excited
+tone, "Thee has made a mistake, friend Whittier; there
+are female garments in my room!" Whittier replied
+soothingly, "Thee had better go to bed, Josiah; the
+female garments won't hurt thee."</p>
+
+<div class="figcenter" style="width: 440px;">
+<a name="josiah_bartlett_statue" id="josiah_bartlett_statue"></a>
+<img src="images/image123.jpg" width="440" height="600" alt="JOSIAH BARTLETT STATUE, HUNTINGTON SQUARE, AMESBURY" title="JOSIAH BARTLETT STATUE, HUNTINGTON SQUARE, AMESBURY" />
+<span class="caption">JOSIAH BARTLETT STATUE, HUNTINGTON SQUARE, AMESBURY</span>
+</div>
+
+<p>Here is a specimen of his frolicsome verse written after
+he was eighty years of age. It deals largely in personalities,
+was meant solely for the perusal of a few friends whom
+it pleasantly satirized, and was never before in print. When
+the bronze statue of Josiah Bartlett was to be erected in
+Amesbury, Whittier of course was called upon for the
+dedicatory ode, and he wrote "One of the Signers" for
+the occasion. The unveiling of the statue occurred on
+the Fourth of July, 1888, and as might have been anticipated,
+the poet could not be prevailed upon to be present.
+The day before the Fourth he went to Oak Knoll, "so as
+to keep in the quiet," he said. But his thoughts were on
+the celebration going on at Amesbury, and they took the
+form of drollery. He imagined himself occupying the seat
+on the platform which had been reserved for him, and
+these amusing verses were composed, the satirical allusions
+in which would be appreciated by his townspeople.
+The president of the day was Hon. E. Moody Boynton, a
+descendant of the signer, and the well-known inventor of
+the bicycle railway, the "lightning saw," etc. He has the
+reputation of having the limberest tongue in New England,
+as well as a brain most fertile in invention. The
+orator of the day was Hon. Robert T. Davis, then member
+of Congress, a former resident of Amesbury, and like
+Bartlett a physician. Jacob R. Huntington, to whose liberality<span class="pagenum"><a name="Page_123" id="Page_123">[Pg 123]</a></span>
+the village is indebted for the statue, is a successful
+pioneer in the carriage-building industry of the place.
+It was cannily decided to give the statue to the State of
+Massachusetts, so as to have an inducement for the Governor
+to attend the dedication. Whittier's play on this fact
+is in the best vein of his drollery. The statue is of dark
+bronze, and this gave a chance for his amusing reference<span class="pagenum"><a name="Page_124" id="Page_124">[Pg 124]</a></span>
+to the Kingston Democrats, whom he imagined as coming
+across the state line to attend the celebration. Dr. Bartlett
+was buried in their town. Professor J. W. Churchill,
+of Andover, one of the "heretics" of the Seminary, was
+to read the poem. The other persons named were eccentric
+characters well known in Amesbury:&mdash;</p>
+
+<div class="poem"><div class="title">
+MY DOUBLE</div>
+
+<div class="stanza">
+<span class="i0">I 'm in Amesbury, not at Oak Knoll;<br /></span>
+<span class="i1">'T is my double here you see:<br /></span>
+<span class="i0"><i>I 'm</i> sitting on the platform,<br /></span>
+<span class="i1">Where the programme places me&mdash;<br /></span>
+</div><div class="stanza">
+<span class="i0">Where the women nudge each other,<br /></span>
+<span class="i1">And point me out and say:<br /></span>
+<span class="i0">"That 's the man who makes the verses&mdash;<br /></span>
+<span class="i1">My! how old he is and gray!"<br /></span>
+</div><div class="stanza">
+<span class="i0">I hear the crackers popping,<br /></span>
+<span class="i1">I hear the bass drums throb;<br /></span>
+<span class="i0">I sit at Boynton's right hand,<br /></span>
+<span class="i1">And help him boss the job.<br /></span>
+</div><div class="stanza">
+<span class="i0">And like the great stone giant<br /></span>
+<span class="i1">Dug out of Cardiff mire,<br /></span>
+<span class="i0">We lift our man of metal,<br /></span>
+<span class="i1">And resurrect Josiah!<br /></span>
+</div><div class="stanza">
+<span class="i0">Around, the Hampshire Democrats<br /></span>
+<span class="i1">Stand looking glum and grim,&mdash;<br /></span>
+<span class="i0">"<i>That thing</i> the Kingston doctor!<br /></span>
+<span class="i1">Do you call <i>that critter</i> him?<br /></span>
+</div><div class="stanza">
+<span class="i0">"The pesky Black Republicans<br /></span>
+<span class="i1">Have gone and changed his figure;<br /></span>
+<span class="i0">We buried him a white man&mdash;<br /></span>
+<span class="i1">They've dug him up a nigger!"<br /></span>
+</div><div class="stanza">
+<span class="i0">I hear the wild winds rushing<br /></span>
+<span class="i1">From Boynton's limber jaws,<br /></span>
+<span class="i0">Swift as his railroad bicycle,<br /></span>
+<span class="i1">And buzzing like his saws!<br /></span><span class="pagenum"><a name="Page_125" id="Page_125">[Pg 125]</a></span>
+</div><div class="stanza">
+<span class="i0">But Hiram the wise is explaining<br /></span>
+<span class="i1">It 's only an old oration<br /></span>
+<span class="i0">Of Ginger-Pop Emmons, come down<br /></span>
+<span class="i1">By way of undulation!<br /></span>
+</div><div class="stanza">
+<span class="i0">Then Jacob, the vehicle-maker,<br /></span>
+<span class="i1">Comes forward to inquire<br /></span>
+<span class="i0">If Governor Ames will relieve the town<br /></span>
+<span class="i1">Of the care of old Josiah.<br /></span>
+</div><div class="stanza">
+<span class="i0">And the Governor says: "If Amesbury can't<br /></span>
+<span class="i1">Take care of its own town charge,<br /></span>
+<span class="i0">The State, I suppose, must do it,<br /></span>
+<span class="i1">And keep him from runnin' at large!"<br /></span>
+</div><div class="stanza">
+<span class="i0">Then rises the orator Robert,<br /></span>
+<span class="i1">Recounting with grave precision<br /></span>
+<span class="i0">The tale of the great Declaration,<br /></span>
+<span class="i1">And the claims of his brother physician.<br /></span>
+</div><div class="stanza">
+<span class="i0">Both doctors, and both Congressmen,<br /></span>
+<span class="i1">Tall and straight, you 'd scarce know which is<br /></span>
+<span class="i0">The live man, and which is the image,<br /></span>
+<span class="i1">Except by their trousers and breeches!<br /></span>
+</div><div class="stanza">
+<span class="i0">Then when the Andover "heretic"<br /></span>
+<span class="i1">Reads the rhymes I dared not utter,<br /></span>
+<span class="i0">I fancy Josiah is scowling,<br /></span>
+<span class="i1">And his bronze lips seem to mutter:<br /></span>
+</div><div class="stanza">
+<span class="i0">"Dry up! and stop your nonsense!<br /></span>
+<span class="i1">The Lord who in His mercies<br /></span>
+<span class="i0">Once saved me from the Tories,<br /></span>
+<span class="i1">Preserve me now from verses!"<br /></span>
+</div><div class="stanza">
+<span class="i0">Bad taste in the old Continental!<br /></span>
+<span class="i1">Whose knowledge of verse was at best<br /></span>
+<span class="i0">John Rogers' farewell to his wife and<br /></span>
+<span class="i1">Nine children and one at the breast!<br /></span>
+</div><div class="stanza">
+<span class="i0">He 's treating me worse than the Hessians<br /></span>
+<span class="i1">He shot in the Bennington scrimmage&mdash;<br /></span>
+<span class="i0">Have I outlived the newspaper critic,<br /></span>
+<span class="i1">To be scalped by a graven image!<br /></span><span class="pagenum"><a name="Page_126" id="Page_126">[Pg 126]</a></span>
+</div><div class="stanza">
+<span class="i0">Perhaps, after all, I deserve it,<br /></span>
+<span class="i1">Since I, who was born a Quaker,<br /></span>
+<span class="i0">Sit here an image worshiper,<br /></span>
+<span class="i1">Instead of an image breaker!<br /></span>
+</div></div>
+
+<p>In giving this picture of a poet at play, I have presented
+a side of Whittier's character heretofore overlooked, although
+to his intimate friends it was ever in evidence. I
+think there are few of the lovers of his verse who, if they
+are surprised by these revelations, will not also be pleased
+to become acquainted with one of his methods of recreation.</p>
+
+<hr style="width: 33%;" />
+
+<p>When Edmund Gosse visited this country in 1884, he
+called upon Mr. Whittier, and this is the impression he received
+of his personality: "The peculiarity of his face rested
+in the extraordinarily large and luminous black eyes, set in
+black eyebrows, and fringed with thick black eyelashes curiously
+curved inward. This bar of vivid black across the
+countenance was startlingly contrasted with the bushy snow-white
+beard and hair, offering a sort of contradiction which
+was surprising and presently pleasing. He struck me as
+very gay and cheerful, in spite of his occasional references
+to the passage of time and the vanishing of beloved faces.
+He even laughed frequently and with a childlike suddenness,
+but without a sound. His face had none of the immobility
+so frequent with very aged persons; on the contrary, waves
+of mood were always sparkling across his features, and
+leaving nothing stationary there except the narrow, high,
+and strangely receding forehead. His language, very fluent
+and easy, had an agreeable touch of the soil, an occasional
+rustic note in its elegant colloquialism, that seemed very
+pleasant and appropriate, as if it linked him naturally with
+the long line of sturdy ancestors of whom he was the final
+blossoming. In connection with his poetry, I think it
+would be difficult to form in the imagination a figure more
+appropriate to Whittier's writings than Whittier himself
+proved to be in the flesh."</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_127" id="Page_127">[Pg 127]</a></span></p>
+<h2><big>WHITTIER'S UNCOLLECTED POEMS</big></h2>
+
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_129" id="Page_129">[Pg 129]</a></span></p>
+<h2><a name="IV" id="IV"></a>IV<br /><br />
+
+WHITTIER'S UNCOLLECTED POEMS</h2>
+
+
+<p>Between the years 1826 and 1835, Mr. Whittier was
+writing literally hundreds of poems which he never permitted
+to be collected in any edition of his works; and
+not only so, but he preserved no copies of them, in later
+years destroying such as came to his notice. Some of
+these verses went the rounds of the newspaper press of
+the country, giving him a widespread reputation as a poet.
+But in much of his early work we see traces of ambition
+for fame, and a feeling that the world was treating him
+harshly. When the change came over his spirit to which
+reference has been made in a preceding chapter, sweetening
+all the springs of life, he lost interest in these early
+productions, some of which were giving him the fame
+that in his earlier years he so much craved. It was this
+radical change which no doubt influenced him in his
+later life to omit from his collected works most of the
+verses written previous to it. I have in my possession
+more than three hundred poems which I have found in
+the files of old newspapers, the great mass of which I
+would by no means reproduce, although I find nothing of
+which a young writer of that period need be ashamed. A
+few of these verses are given below as specimens of the
+work he saw fit to discard.</p>
+
+<p>The following poem, written when he was nineteen
+years of age, during his first term in the Haverhill Academy,
+shows in one or two stanzas the feeling that the
+world is giving him the cold shoulder:&mdash;</p>
+
+<p><span class="pagenum"><a name="Page_130" id="Page_130">[Pg 130]</a></span></p>
+<div class="poem"><div class="titlest">
+I WOULD NOT LOSE THAT ROMANCE WILD</div>
+
+<div class="stanza">
+<span class="i0">I would not lose that romance wild,<br /></span>
+<span class="i1">That high and gifted feeling&mdash;<br /></span>
+<span class="i0">The power that made me fancy's child,<br /></span>
+<span class="i1">The clime of song revealing,<br /></span>
+<span class="i0">For all the power, for all the gold,<br /></span>
+<span class="i0">That slaves to pride and avarice hold.<br /></span>
+</div><div class="stanza">
+<span class="i0">I know that there are those who deem<br /></span>
+<span class="i1">But lightly of the lyre;&mdash;<br /></span>
+<span class="i0">Who ne'er have felt one blissful beam<br /></span>
+<span class="i1">Of song-enkindled fire<br /></span>
+<span class="i0">Steal o'er their spirits, as the light<br /></span>
+<span class="i0">Of morning o'er the face of night.<br /></span>
+</div><div class="stanza">
+<span class="i0">Yet there 's a mystery in song&mdash;<br /></span>
+<span class="i1">A halo round the way<br /></span>
+<span class="i0">Of him who seeks the muses' throng&mdash;<br /></span>
+<span class="i1">An intellectual ray,<br /></span>
+<span class="i0">A source of pure, unfading joy&mdash;<br /></span>
+<span class="i0">A dream that earth can ne'er destroy.<br /></span>
+</div><div class="stanza">
+<span class="i0">And though the critic's scornful eye<br /></span>
+<span class="i1">Condemn his faltering lay,<br /></span>
+<span class="i0">And though with heartless apathy,<br /></span>
+<span class="i1">The cold world turn away&mdash;<br /></span>
+<span class="i0">And envy strive with secret aim,<br /></span>
+<span class="i0">To blast and dim his rising fame;<br /></span>
+</div><div class="stanza">
+<span class="i0">Yet fresh, amid the blast that brings<br /></span>
+<span class="i1">Such poison on its breath,<br /></span>
+<span class="i0">Above the wreck of meaner things,<br /></span>
+<span class="i1">His lyre's unfading wreath<br /></span>
+<span class="i0">Shall bloom, when those who scorned his lay<br /></span>
+<span class="i0">With name and power have passed away.<br /></span>
+</div><div class="stanza">
+<span class="i0">Come then, my lyre, although there be<br /></span>
+<span class="i1">No witchery in thy tone;<br /></span>
+<span class="i0">And though the lofty harmony<br /></span>
+<span class="i1">Which other bards have known,<br /></span>
+<span class="i0">Is not, and cannot e'er be mine,<br /></span>
+<span class="i0">To touch with power those chords of thine.<br /></span>
+</div><span class="pagenum"><a name="Page_131" id="Page_131">[Pg 131]</a></span>
+<div class="stanza">
+<span class="i0">Yet thou canst tell, in humble strain,<br /></span>
+<span class="i1">The feelings of a heart,<br /></span>
+<span class="i0">Which, though not proud, would still disdain<br /></span>
+<span class="i1">To bear a meaner part,<br /></span>
+<span class="i0">Than that of bending at the shrine<br /></span>
+<span class="i0">Where their bright wreaths the muses twine.<br /></span>
+</div><div class="stanza">
+<span class="i0">Thou canst not give me wealth or fame;<br /></span>
+<span class="i1">Thou hast no power to shed<br /></span>
+<span class="i0">The halo of a deathless name<br /></span>
+<span class="i1">Around my last cold bed;<br /></span>
+<span class="i0">To other chords than thine belong<br /></span>
+<span class="i0">The breathings of immortal song.<br /></span>
+</div><div class="stanza">
+<span class="i0">Yet come, my lyre! some hearts may beat<br /></span>
+<span class="i1">Responsive to thy lay;<br /></span>
+<span class="i0">The tide of sympathy may meet<br /></span>
+<span class="i1">Thy master's lonely way;<br /></span>
+<span class="i0">And kindred souls from envy free<br /></span>
+<span class="i0">May listen to its minstrelsy.<br /></span>
+<span class="i-2"><small>8th month, 1827.</small><br /><br /></span></div></div>
+
+
+<p>During the first months of Whittier's editorship of the
+"New England Review" at Hartford, his contributions of
+verse to that paper were numerous&mdash;in some cases three
+of his poems appearing in a single number, as in the
+issue of October 18, 1830. Two of these are signed with
+his initials, but the one here given has no signature.
+That it is his is made evident by the fact that all but one
+stanza of it appears in "Moll Pitcher," published two
+years later. It was probably because of the self-assertion
+of the concluding lines that the omitted stanza was canceled,
+and these lines reveal the ambition then stirring
+his young blood.</p>
+
+<div class="poem"><div class="title">
+NEW ENGLAND</div>
+
+<div class="stanza">
+<span class="i0">Land of the forest and the rock&mdash;<br /></span>
+<span class="i1">Of dark blue lake and mighty river&mdash;<br /></span>
+<span class="i0">Of mountains reared aloft to mock<br /></span>
+<span class="i0">The storm's career&mdash;the lightning's shock,&mdash;<br /></span>
+<span class="i1">My own green land forever!&mdash;<br /></span><span class="pagenum"><a name="Page_132" id="Page_132">[Pg 132]</a></span>
+<span class="i0">Land of the beautiful and brave&mdash;<br /></span>
+<span class="i0">The freeman's home&mdash;the martyr's grave&mdash;<br /></span>
+<span class="i0">The nursery of giant men,<br /></span>
+<span class="i0">Whose deeds have linked with every glen,<br /></span>
+<span class="i0">And every hill and every stream,<br /></span>
+<span class="i0">The romance of some warrior dream!&mdash;<br /></span>
+<span class="i0">Oh never may a son of thine,<br /></span>
+<span class="i0">Where'er his wandering steps incline,<br /></span>
+<span class="i0">Forget the sky which bent above<br /></span>
+<span class="i0">His childhood like a dream of love&mdash;<br /></span>
+<span class="i0">The stream beneath the green hill flowing&mdash;<br /></span>
+<span class="i0">The broad-armed trees above it growing&mdash;<br /></span>
+<span class="i0">The clear breeze through the foliage blowing;&mdash;<br /></span>
+<span class="i0">Or hear unmoved the taunt of scorn<br /></span>
+<span class="i0">Breathed o'er the brave New England born;&mdash;<br /></span>
+<span class="i0">Or mark the stranger's Jaguar hand<br /></span>
+<span class="i1">Disturb the ashes of thy dead&mdash;<br /></span>
+<span class="i0">The buried glory of a land<br /></span>
+<span class="i1">Whose soil with noble blood is red,<br /></span>
+<span class="i0">And sanctified in every part,<br /></span>
+<span class="i0">Nor feel resentment like a brand<br /></span>
+<span class="i0">Unsheathing from his fiery heart!<br /></span>
+</div><div class="stanza">
+<span class="i0">Oh&mdash;greener hills may catch the sun<br /></span>
+<span class="i1">Beneath the glorious heaven of France;<br /></span>
+<span class="i0">And streams rejoicing as they run<br /></span>
+<span class="i1">Like life beneath the day-beam's glance,<br /></span>
+<span class="i0">May wander where the orange bough<br /></span>
+<span class="i0">With golden fruit is bending low;&mdash;<br /></span>
+<span class="i0">And there may bend a brighter sky<br /></span>
+<span class="i0">O'er green and classic Italy&mdash;<br /></span>
+<span class="i0">And pillared fane and ancient grave<br /></span>
+<span class="i1">Bear record of another time,<br /></span>
+<span class="i0">And over shaft and architrave<br /></span>
+<span class="i1">The green luxuriant ivy climb;&mdash;<br /></span>
+<span class="i0">And far towards the rising sun<br /></span>
+<span class="i1">The palm may shake its leaves on high,<br /></span>
+<span class="i0">Where flowers are opening one by one,<br /></span>
+<span class="i1">Like stars upon the twilight sky,<br /></span>
+<span class="i0">And breezes soft as sighs of love<br /></span>
+<span class="i1">Above the rich mimosa stray,<br /></span>
+<span class="i0">And through the Brahmin's sacred grove<br /></span>
+<span class="i1">A thousand bright-hued pinions play!&mdash;<br /></span>
+</div><span class="pagenum"><a name="Page_133" id="Page_133">[Pg 133]</a></span>
+<div class="stanza">
+<span class="i0">Yet, unto thee, New England, still<br /></span>
+<span class="i1">Thy wandering sons shall stretch their arms,<br /></span>
+<span class="i0">And thy rude chart of rock and hill<br /></span>
+<span class="i1">Seem dearer than the land of palms!<br /></span>
+<span class="i0">Thy massy oak and mountain pine<br /></span>
+<span class="i1">More welcome than the banyan's shade,<br /></span>
+<span class="i0">And every free, blue stream of thine<br /></span>
+<span class="i1">Seem richer than the golden bed<br /></span>
+<span class="i0">Of Oriental waves, which glow<br /></span>
+<span class="i1">And sparkle with the wealth below!<br /></span>
+</div><div class="stanza">
+<span class="i0">Land of my fathers!&mdash;if my name,<br /></span>
+<span class="i0">Now humble, and unwed to fame,<br /></span>
+<span class="i0">Hereafter burn upon the lip,<br /></span>
+<span class="i1">As one of those which may not die,<br /></span>
+<span class="i0">Linked in eternal fellowship<br /></span>
+<span class="i1">With visions pure and strong and high&mdash;<br /></span>
+<span class="i0">If the wild dreams which quicken now<br /></span>
+<span class="i0">The throbbing pulse of heart and brow,<br /></span>
+<span class="i0">Hereafter take a real form<br /></span>
+<span class="i0">Like spectres changed to beings warm;<br /></span>
+<span class="i0">And over temples worn and gray<br /></span>
+<span class="i1">The star-like crown of glory shine,&mdash;<br /></span>
+<span class="i0">Thine be the bard's undying lay,<br /></span>
+<span class="i1">The murmur of his praise be thine!<br /></span>
+</div></div>
+
+<p>One of the poems in the same number which contained
+this spirited tribute to New England was the song given
+below, which was signed with the initials of the editor,
+else there might be some hesitation in assigning it to him,
+for there is scarcely anything like it to be found in his
+writings. It was evidently written for music, and some
+composer should undertake it.</p>
+
+<div class="poem"><div class="titlewd">
+SONG</div>
+
+<div class="stanza">
+<span class="i0">That vow of thine was full and deep<br /></span>
+<span class="i1">As man has ever spoken&mdash;<br /></span>
+<span class="i0">A vow within the heart to keep,<br /></span>
+<span class="i1">Unchangeable, unbroken.<br /></span>
+</div><div class="stanza">
+<span class="i0">'T was by the glory of the Sun,<br /></span>
+<span class="i1">And by the light of Even,<br /></span><span class="pagenum"><a name="Page_134" id="Page_134">[Pg 134]</a></span>
+<span class="i0">And by the Stars, that, one by one,<br /></span>
+<span class="i1">Are lighted up in Heaven!<br /></span>
+</div><div class="stanza">
+<span class="i0">That Even might forget its gold&mdash;<br /></span>
+<span class="i1">And Sunlight fade forever&mdash;<br /></span>
+<span class="i0">The constant Stars grow dim and cold,&mdash;<br /></span>
+<span class="i1">But thy affection&mdash;never!<br /></span>
+</div><div class="stanza">
+<span class="i0">And Earth might wear a changeful sign,<br /></span>
+<span class="i1">And fickleness the Sky&mdash;<br /></span>
+<span class="i0">Yet, even then, that love of thine<br /></span>
+<span class="i1">Might never change nor die.<br /></span>
+</div><div class="stanza">
+<span class="i0">The golden Sun is shining yet&mdash;<br /></span>
+<span class="i1">And at the fall of Even<br /></span>
+<span class="i0">There 's beauty in the warm Sunset,<br /></span>
+<span class="i1">And Stars are bright in Heaven.<br /></span>
+</div><div class="stanza">
+<span class="i0">No change is on the blessed Sky&mdash;<br /></span>
+<span class="i1">The quiet Earth has none&mdash;<br /></span>
+<span class="i0">Nature has still her constancy,<br /></span>
+<span class="i1">And <i>Thou</i> art changed alone!<br /></span>
+</div></div>
+
+<p>The "Review" for September 13, 1830, has a poem
+of Whittier's prefaced by a curious story about Lord
+Byron:&mdash;</p>
+
+<p><i>The Spectre.</i>&mdash;There is a story going the rounds of our
+periodicals that a Miss G., of respectable family, young
+and very beautiful, attended Lord Byron for nearly a year
+in the habit of a page. Love, desperate and all-engrossing,
+seems to have been the cause of her singular conduct.
+Neglected at last by the man for whom she had forsaken
+all that woman holds dear, she resolved upon self-destruction,
+and provided herself with poison. Her designs
+were discovered by Lord Byron, who changed the poison
+for a sleeping potion. Miss G., with that delicate feeling
+of affection which had ever distinguished her intercourse
+with Byron, stole privately away to the funeral vault of
+the Byrons, and fastened the entrance, resolving to spare<span class="pagenum"><a name="Page_135" id="Page_135">[Pg 135]</a></span>
+her lover the dreadful knowledge of her fate. She there
+swallowed the supposed poison&mdash;and probably died of
+starvation! She was found dead soon after. Lord Byron
+never adverted to this subject without a thrill of horror.
+The following from his private journal may, perhaps, have
+some connection with it:&mdash;</p>
+
+<p>"I awoke from a dream&mdash;well! and have not others
+dreamed?&mdash;such a dream! I wish the dead would rest
+forever. Ugh! how my blood chilled&mdash;and I could not
+wake&mdash;and&mdash;and&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i8">"Shadows to-night<br /></span>
+<span class="i0">Have struck more terror to the soul of Richard<br /></span>
+<span class="i0">Than could the substance of ten thousand&mdash;<br /></span>
+<span class="i0">Armed all in proof&mdash;<br /></span>
+</div></div>
+
+<p>"I do not like this dream&mdash;I hate its foregone conclusion.
+And am I to be shaken by shadows? Ay, when
+they remind us of&mdash;no matter&mdash;but if I dream again I
+will try whether all sleep has the like visions."&mdash;Moore's
+"Byron," page 324.</p>
+
+<div class="poem"><div class="stanza">
+<span class="i1">She came to me last night&mdash;<br /></span>
+<span class="i0">The floor gave back no tread,<br /></span>
+<span class="i0">She stood by me in the wan moonlight&mdash;<br /></span>
+<span class="i0">In the white robes of the dead&mdash;<br /></span>
+<span class="i0">Pale&mdash;pale, and very mournfully<br /></span>
+<span class="i0">She bent her light form over me&mdash;<br /></span>
+<span class="i0">I heard no sound&mdash;I felt no breath<br /></span>
+<span class="i0">Breathe o'er me from that face of death;<br /></span>
+<span class="i0">Its dark eyes rested on my own,<br /></span>
+<span class="i0">Rayless and cold as eyes of stone;<br /></span>
+<span class="i0">Yet in their fixed, unchanging gaze,<br /></span>
+<span class="i0">Something which told of other days&mdash;<br /></span>
+<span class="i0">A sadness in their quiet glare,<br /></span>
+<span class="i0">As if Love's smile were frozen there,<br /></span>
+<span class="i0">Came o'er me with an icy thrill&mdash;<br /></span>
+<span class="i0">O God! I feel its presence still!<br /></span>
+<span class="i0">And fearfully and dimly<br /></span>
+<span class="i0">The pale cold vision passed,<br /></span>
+<span class="i0">Yet those dark eyes were fixed on me<br /></span>
+<span class="i0">In sadness to the last.<br /></span><span class="pagenum"><a name="Page_136" id="Page_136">[Pg 136]</a></span>
+<span class="i0">I struggled&mdash;and my breath came back,<br /></span>
+<span class="i0">As to the victim on the rack,<br /></span>
+<span class="i0">Amid the pause of mortal pain<br /></span>
+<span class="i0">Life steals to suffer once again!<br /></span>
+<span class="i0">Was it a dream? I looked around,<br /></span>
+<span class="i0">The moonlight through the lattice shone;<br /></span>
+<span class="i0">The same pale glow that dimly crowned<br /></span>
+<span class="i0">The forehead of the spectral one!<br /></span>
+<span class="i0">And then I knew she had been there&mdash;<br /></span>
+<span class="i0">Not in her breathing loveliness,<br /></span>
+<span class="i0">But as the grave's lone sleepers are,<br /></span>
+<span class="i0">Silent and cold and passionless!<br /></span>
+<span class="i0">A weary thought&mdash;a fearful thought&mdash;<br /></span>
+<span class="i0">Within the secret heart to keep:<br /></span>
+<span class="i0">Would that the past might be forgot&mdash;<br /></span>
+<span class="i0">Would that the dead might sleep!<br /></span>
+</div></div>
+
+<p>These are the concluding lines of a long poem written in
+1829, while he was editing the "American Manufacturer."
+The poem as a whole was never in print; but these lines of
+it I find in the "Essex Gazette" of August 22, 1829, from
+which paper they were copied, as were most of his productions
+of that period, by the newspapers of the country.
+They were never in any collection of his works:&mdash;</p>
+
+<div class="poem"><div class="title">
+A FRAGMENT</div>
+
+<div class="stanza">
+<span class="i0">Lady, farewell! I know thy heart<br /></span>
+<span class="i0">Has angel strength to soar above<br /></span>
+<span class="i0">The cold reserve&mdash;the studied art<br /></span>
+<span class="i0">That mock the glowing wings of love.<br /></span>
+<span class="i0">Its thoughts are purer than the pearl<br /></span>
+<span class="i0">That slumbers where the wave is driven,<br /></span>
+<span class="i0">Yet freer than the winds that furl<br /></span>
+<span class="i0">The banners of the clouded heaven.<br /></span>
+<span class="i0">And thou hast been the brightest star<br /></span>
+<span class="i0">That shone along my weary way&mdash;<br /></span>
+<span class="i0">Brighter than rainbow visions are,<br /></span>
+<span class="i0">A changeless and enduring ray.<br /></span>
+<span class="i0">Nor will my memory lightly fade<br /></span>
+<span class="i0">From thy pure dreams, high-thoughted girl;&mdash;<br /></span>
+<span class="i0">The ocean may forget what made<br /></span>
+<span class="i0">Its blue expanse of waters curl,<br /></span><span class="pagenum"><a name="Page_137" id="Page_137">[Pg 137]</a></span>
+<span class="i0">When the strong winds have passed the sky;<br /></span>
+<span class="i0">Earth in its beauty may forget<br /></span>
+<span class="i0">The recent cloud that floated by;<br /></span>
+<span class="i0">The glories of the last sunset&mdash;<br /></span>
+<span class="i0">But not from thy unchanging mind<br /></span>
+<span class="i0">Will fade the dreams of other years,<br /></span>
+<span class="i0">And love will linger far behind,<br /></span>
+<span class="i0">In memory's resting place of tears!<br /></span>
+</div></div>
+
+<p>Many of Whittier's early discarded verses are of a
+rather gruesome sort, but more are inspired by contemplation
+of sublime themes, like this apostrophe to "Eternity,"
+which was published in the "New England Review" in
+1831:&mdash;</p>
+
+<div class="poem"><div class="titlewd">
+ETERNITY</div>
+
+<div class="stanza">
+<span class="i0">Boundless eternity! the wingéd sands<br /></span>
+<span class="i1">That mark the silent lapse of flitting time<br /></span>
+<span class="i0">Are not for thee; thine awful empire stands<br /></span>
+<span class="i1">From age to age, unchangeable, sublime;<br /></span>
+<span class="i1">Thy domes are spread where thought can never climb,<br /></span>
+<span class="i0">In clouds and darkness where vast pillars rest.<br /></span>
+<span class="i1">I may not fathom thee: 't would seem a crime<br /></span>
+<span class="i0">Thy being of its mystery to divest<br /></span>
+<span class="i0">Or boldly lift thine awful veil with hands unblest.<br /></span>
+</div><div class="stanza">
+<span class="i0">Thy ruins are the wrecks of systems; suns<br /></span>
+<span class="i1">Blaze a brief space of age, and are not;<br /></span>
+<span class="i0">Worlds crumble and decay, creation runs<br /></span>
+<span class="i1">To waste&mdash;then perishes and is forgot;<br /></span>
+<span class="i1">Yet thou, all changeless, heedest not the blot.<br /></span>
+<span class="i0">Heaven speaks once more in thunder; empty space<br /></span>
+<span class="i1">Trembles and wakes; new worlds in ether float,<br /></span>
+<span class="i0">Teeming with new creative life, and trace<br /></span>
+<span class="i0">Their mighty circles, which others shall displace.<br /></span>
+</div><div class="stanza">
+<span class="i0">Thine age is youth, thy youth is hoary age,<br /></span>
+<span class="i1">Ever beginning, never ending, thou<br /></span>
+<span class="i0">Bearest inscribed upon thy ample page,<br /></span>
+<span class="i1">Yesterday, forever, but as now<br /></span>
+<span class="i1">Thou art, thou hast been, shall be: though<br /></span>
+<span class="i0">I feel myself immortal, when on thee<br /></span>
+<span class="i1">I muse, I shrink to nothingness, and bow<br /></span><span class="pagenum"><a name="Page_138" id="Page_138">[Pg 138]</a></span>
+<span class="i0">Myself before thee, dread Eternity,<br /></span>
+<span class="i0">With God coeval, coexisting, still to be.<br /></span>
+</div><div class="stanza">
+<span class="i0">I go with thee till time shall be no more,<br /></span>
+<span class="i1">I stand with thee on Time's remotest age,<br /></span>
+<span class="i0">Ten thousand years, ten thousand times told o'er;<br /></span>
+<span class="i1">Still, still with thee my onward course I urge;<br /></span>
+<span class="i1">And now no longer hear the surge<br /></span>
+<span class="i0">Of Time's light billows breaking on the shore<br /></span>
+<span class="i1">Of distant earth; no more the solemn dirge&mdash;<br /></span>
+<span class="i0">Requiem of worlds, when such are numbered o'er&mdash;<br /></span>
+<span class="i0">Steals by: still thou art on forever more.<br /></span>
+</div><div class="stanza">
+<span class="i0">From that dim distance I turn to gaze<br /></span>
+<span class="i1">With fondly searching glance, upon the spot<br /></span>
+<span class="i0">Of brief existence, when I met the blaze<br /></span>
+<span class="i1">Of morning, bursting on my humble cot,<br /></span>
+<span class="i1">And gladness whispered of my happy lot;<br /></span>
+<span class="i0">And now 't is dwindled to a point&mdash;a speck&mdash;<br /></span>
+<span class="i1">And now 't is nothing, and my eye may not<br /></span>
+<span class="i0">Longer distinguish it amid the wreck<br /></span>
+<span class="i0">Of worlds in ruins, crushed at the Almighty's beck.<br /></span>
+</div><div class="stanza">
+<span class="i0">Time&mdash;what is time to thee? a passing thought<br /></span>
+<span class="i1">To twice ten thousand ages&mdash;a faint spark<br /></span>
+<span class="i0">To twice ten thousand suns; a fibre wrought<br /></span>
+<span class="i1">Into the web of infinite&mdash;a cork<br /></span>
+<span class="i1">Balanced against a world: we hardly mark<br /></span>
+<span class="i0">Its being&mdash;even its name hath ceased to be;<br /></span>
+<span class="i1">Thy wave hath swept it from us, thy dark<br /></span>
+<span class="i0">Mantle of years, in dim obscurity<br /></span>
+<span class="i0">Hath shrouded it around: Time&mdash;what is Time to thee!<br /></span>
+</div></div>
+
+<p>In 1832 a living ichneumon was brought to Haverhill,
+and was on exhibition at Frinksborough, a section of
+Haverhill now known as "the borough," on the bank of
+the river above the railroad bridge. Three young ladies
+of Haverhill went to see it, escorted by Mr. Whittier.
+They found that the animal had succumbed to the New
+England climate, and had just been buried. One of the
+ladies, Harriet Minot, afterward Mrs. Pitman, a life-long<span class="pagenum"><a name="Page_139" id="Page_139">[Pg 139]</a></span>
+friend of the poet, suggested that he should write an
+elegy, and these are the lines he produced:&mdash;</p>
+
+<div class="poem"><div class="titlest">
+THE DEAD ICHNEUMON</div>
+
+<div class="stanza">
+<span class="i0">Stranger! they have made thy grave<br /></span>
+<span class="i1">By the darkly flowing river;<br /></span>
+<span class="i0">But the washing of its wave<br /></span>
+<span class="i1">Shall disturb thee never!<br /></span>
+<span class="i0">Nor its autumn tides which run<br /></span>
+<span class="i1">Turbid to the rising sun,<br /></span>
+<span class="i0">Nor the harsh and hollow thunder,<br /></span>
+<span class="i0">When its fetters burst asunder,<br /></span>
+<span class="i0">And its winter ice is sweeping,<br /></span>
+<span class="i0">Downward to the ocean's keeping.<br /></span>
+</div><div class="stanza">
+<span class="i0">Sleeper! thou canst rest as calm<br /></span>
+<span class="i1">As beside thine own dark stream,<br /></span>
+<span class="i0">In the shadow of the palm,<br /></span>
+<span class="i1">Or the white sand gleam!<br /></span>
+<span class="i0">Though thy grave be never hid<br /></span>
+<span class="i0">By the o'ershadowing pyramid,<br /></span>
+<span class="i0">Frowning o'er the desert sand,<br /></span>
+<span class="i0">Like no work of mortal hand,<br /></span>
+<span class="i0">Telling aye the same proud story<br /></span>
+<span class="i0">Of the old Egyptian glory!<br /></span>
+</div><div class="stanza">
+<span class="i0">Wand'rer! would that we might know<br /></span>
+<span class="i1">Something of thy early time&mdash;<br /></span>
+<span class="i0">Something of thy weal or woe<br /></span>
+<span class="i1">In thine own far clime!<br /></span>
+<span class="i0">If thy step hath fallen where<br /></span>
+<span class="i0">Those of Cleopatra were,<br /></span>
+<span class="i0">When the Roman cast his crown<br /></span>
+<span class="i0">At a woman's footstool down,<br /></span>
+<span class="i0">Deeming glory's sunshine dim<br /></span>
+<span class="i0">To the smile which welcomed him.<br /></span>
+</div><div class="stanza">
+<span class="i0">If beside the reedy Nile<br /></span>
+<span class="i1">Thou hast ever held thy way,<br /></span>
+<span class="i0">Where the embryo crocodile<br /></span>
+<span class="i1">In the damp sedge lay;<br /></span><span class="pagenum"><a name="Page_140" id="Page_140">[Pg 140]</a></span>
+<span class="i0">When the river monster's eye<br /></span>
+<span class="i0">Kindled at thy passing by,<br /></span>
+<span class="i0">And the pliant reeds were bending<br /></span>
+<span class="i0">Where his blackened form was wending,<br /></span>
+<span class="i0">And the basking serpent started<br /></span>
+<span class="i0">Wildly when thy light form darted.<br /></span>
+</div><div class="stanza">
+<span class="i0">Thou hast seen the desert steed<br /></span>
+<span class="i1">Mounted by his Arab chief,<br /></span>
+<span class="i0">Passing like some dream of speed,<br /></span>
+<span class="i1">Wonderful and brief!<br /></span>
+<span class="i0">Where the palm-tree's shadows lurk,<br /></span>
+<span class="i0">Thou hast seen the turbaned Turk,<br /></span>
+<span class="i0">Resting in voluptuous pride<br /></span>
+<span class="i0">With his harem at his side,<br /></span>
+<span class="i0">Veiléd victims of his will,<br /></span>
+<span class="i0">Scorned and lost, yet lovely still.<br /></span>
+</div><div class="stanza">
+<span class="i0">And the samiel hath gone<br /></span>
+<span class="i1">O'er thee like a demon's breath,<br /></span>
+<span class="i0">Marking victims one by one<br /></span>
+<span class="i1">For its master&mdash;Death.<br /></span>
+<span class="i0">And the mirage thou hast seen<br /></span>
+<span class="i0">Glittering in the sunny sheen,<br /></span>
+<span class="i0">Like some lake in sunlight sleeping,<br /></span>
+<span class="i0">Where the desert wind was sweeping,<br /></span>
+<span class="i0">And the sandy column gliding,<br /></span>
+<span class="i0">Like some giant onward striding.<br /></span>
+</div><div class="stanza">
+<span class="i0">Once the dwellers of thy home<br /></span>
+<span class="i1">Blessed the path thy race had trod,<br /></span>
+<span class="i0">Kneeling in the temple dome<br /></span>
+<span class="i1">To a reptile god;<br /></span>
+<span class="i0">Where the shrine of Isis shone<br /></span>
+<span class="i0">Through the veil before its throne,<br /></span>
+<span class="i0">And the priest with fixéd eyes<br /></span>
+<span class="i0">Watched his human sacrifice;<br /></span>
+<span class="i0">And the priestess knelt in prayer,<br /></span>
+<span class="i0">Like some dream of beauty there.<br /></span>
+</div><div class="stanza">
+<span class="i0">Thou, unhonored and unknown,<br /></span>
+<span class="i1">Wand'rer o'er the mighty sea!<br /></span>
+<span class="i0">None for thee have reverence shown&mdash;<br /></span>
+<span class="i1">None have worshipped thee!<br /></span><span class="pagenum"><a name="Page_141" id="Page_141">[Pg 141]</a></span>
+<span class="i0">Here in vulgar Yankee land,<br /></span>
+<span class="i0">Thou hast passed from hand to hand,<br /></span>
+<span class="i0">And in Frinksborough found a home,<br /></span>
+<span class="i0">Where no change can ever come!<br /></span>
+<span class="i0">What thy closing hours befell<br /></span>
+<span class="i0">None may ask, and none may tell.<br /></span>
+</div><div class="stanza">
+<span class="i0">Who hath mourned above thy grave?<br /></span>
+<span class="i1">None&mdash;except thy ancient nurse.<br /></span>
+<span class="i0">Well she may&mdash;thy being gave<br /></span>
+<span class="i1">Coppers to her purse!<br /></span>
+<span class="i0">Who hath questioned her of thee?<br /></span>
+<span class="i0">None, alas! save maidens three,<br /></span>
+<span class="i0">Here to view thee while in being,<br /></span>
+<span class="i0">Yankee curious, paid for seeing,<br /></span>
+<span class="i0">And would gratis view once more<br /></span>
+<span class="i0">That for which they paid before.<br /></span>
+</div><div class="stanza">
+<span class="i0">Yet thy quiet rest may be<br /></span>
+<span class="i1">Envied by the human kind,<br /></span>
+<span class="i0">Who are showing off like thee,<br /></span>
+<span class="i1">To the careless mind,<br /></span>
+<span class="i0">Gifts which torture while they flow,<br /></span>
+<span class="i0">Thoughts which madden while they glow,<br /></span>
+<span class="i0">Pouring out the heart's deep wealth,<br /></span>
+<span class="i0">Proffering quiet, ease, and health,<br /></span>
+<span class="i0">For the fame which comes to them<br /></span>
+<span class="i0">Blended with their requiem!<br /></span>
+</div></div>
+
+<p>The following poem, which I have never seen in print,
+I find in a manuscript collection of Whittier's early poems,
+in the possession of his cousin, Ann Wendell, of Philadelphia.
+It is a political curiosity, being a reminiscence
+of the excitement caused by the mystery of the disappearance
+of William Morgan, in the vicinity of Niagara Falls,
+in 1826. It was written in 1830, three years before Whittier
+became especially active in the anti-slavery cause.
+He was then working in the interest of Henry Clay as
+against Jackson, and the Whigs had adopted some of the
+watchwords of the Anti-Masonic party:&mdash;</p>
+
+<p><span class="pagenum"><a name="Page_142" id="Page_142">[Pg 142]</a></span></p>
+<div class="poem"><div class="titlest">
+THE GRAVE OF MORGAN</div>
+
+<div class="stanza">
+<span class="i0">Wild torrent of the lakes! fling out<br /></span>
+<span class="i1">Thy mighty wave to breeze and sun,<br /></span>
+<span class="i0">And let the rainbow curve above<br /></span>
+<span class="i1">The foldings of thy clouds of dun.<br /></span>
+<span class="i0">Uplift thy earthquake voice, and pour<br /></span>
+<span class="i0">Its thunder to the reeling shore,<br /></span>
+<span class="i0">Till caverned cliff and hanging wood<br /></span>
+<span class="i0">Roll back the echo of thy flood,<br /></span>
+<span class="i0">For there is one who slumbers now<br /></span>
+<span class="i0">Beneath thy bow-encircled brow,<br /></span>
+<span class="i0">Whose spirit hath a voice and sign<br /></span>
+<span class="i0">More strong, more terrible than thine.<br /></span>
+</div><div class="stanza">
+<span class="i0">A million hearts have heard that cry<br /></span>
+<span class="i0">Ring upward to the very sky;<br /></span>
+<span class="i0">It thunders still&mdash;it cannot sleep,<br /></span>
+<span class="i0">But louder than the troubled deep,<br /></span>
+<span class="i0">When the fierce spirit of the air<br /></span>
+<span class="i0">Hath made his arm of vengeance bare,<br /></span>
+<span class="i0">And wave to wave is calling loud<br /></span>
+<span class="i0">Beneath the veiling thunder-cloud;<br /></span>
+<span class="i0">That potent voice is sounding still&mdash;<br /></span>
+<span class="i0">The voice of unrequited ill.<br /></span>
+</div><div class="stanza">
+<span class="i0">Dark cataract of the lakes! thy name<br /></span>
+<span class="i0">Unholy deeds have linked to fame.<br /></span>
+<span class="i0">High soars to heaven thy giant head,<br /></span>
+<span class="i1">Even as a monument to him<br /></span>
+<span class="i0">Whose cold unheeded form is laid<br /></span>
+<span class="i1">Down, down amid thy caverns dim.<br /></span>
+<span class="i0">His requiem the fearful tone<br /></span>
+<span class="i0">Of waters falling from their throne<br /></span>
+<span class="i0">In the mid air, his burial shroud<br /></span>
+<span class="i0">The wreathings of thy torrent cloud,<br /></span>
+<span class="i0">His blazonry the rainbow thrown<br /></span>
+<span class="i0">Superbly round thy brow of stone.<br /></span>
+</div><div class="stanza">
+<span class="i0">Aye, raise thy voice&mdash;the sterner one<br /></span>
+<span class="i0">Which tells of crime in darkness done,<br /></span>
+<span class="i0">Groans upward from thy prison gloom<br /></span>
+<span class="i0">Like voices from the thunder's home.<br /></span><span class="pagenum"><a name="Page_143" id="Page_143">[Pg 143]</a></span>
+<span class="i0">And men have heard it, and the might<br /></span>
+<span class="i1">Of freemen rising from their thrall<br /></span>
+<span class="i0">Shall drag their fetters into light,<br /></span>
+<span class="i1">And spurn and trample on them all.<br /></span>
+<span class="i0">And vengeance long&mdash;too long delayed&mdash;<br /></span>
+<span class="i1">Shall rouse to wrath the souls of men,<br /></span>
+<span class="i0">And freedom raise her holy head<br /></span>
+<span class="i1">Above the fallen tyrant then.<br /></span>
+</div></div>
+
+<p>This poem, which was published in "The Haverhill
+Gazette" in 1829, was copied in many papers of that
+time, but was never in any collection of its author's
+works:&mdash;</p>
+
+<div class="poem"><div class="titlest">
+THE THUNDER SPIRIT</div>
+
+<div class="stanza">
+<span class="i0">Dweller of the unpillared air,<br /></span>
+<span class="i1">Marshalling the storm to war,<br /></span>
+<span class="i0">Heralding its presence where<br /></span>
+<span class="i1">Rolls along thy cloudy car!<br /></span>
+<span class="i0">Thou that speakest from on high,<br /></span>
+<span class="i1">Like an earthquake's bursting forth,<br /></span>
+<span class="i0">Sounding through the veiléd sky<br /></span>
+<span class="i1">As an angel's trumpet doth.<br /></span>
+</div><div class="stanza">
+<span class="i0">Bending from thy dark dominion<br /></span>
+<span class="i1">Like a fierce, revengeful king,<br /></span>
+<span class="i0">Blasting with thy fiery pinion<br /></span>
+<span class="i1">Every high and holy thing;<br /></span>
+<span class="i0">Smitten from their mountain prison<br /></span>
+<span class="i1">Thou hast bid the streams go free,<br /></span>
+<span class="i0">And the ruin's smoke has risen,<br /></span>
+<span class="i1">Like a sacrifice to thee!<br /></span>
+</div><div class="stanza">
+<span class="i4"><b>.&nbsp;&nbsp;&nbsp;     .&nbsp;&nbsp;&nbsp;     .&nbsp;&nbsp;&nbsp;     .&nbsp;&nbsp;&nbsp;     .</b><br /></span>
+</div><div class="stanza">
+<span class="i0">Monarch of each cloudy form,<br /></span>
+<span class="i1">Gathered on the blue of heaven,<br /></span>
+<span class="i0">When the trumpet of the storm<br /></span>
+<span class="i1">To thy lip of flame is given!<br /></span>
+<span class="i0">In the wave and in the breeze,<br /></span>
+<span class="i1">In the shadow and the sun,<br /></span>
+<span class="i0">God hath many languages,<br /></span>
+<span class="i1">And thy mighty voice is one!<br /></span>
+</div></div>
+
+<p><span class="pagenum"><a name="Page_144" id="Page_144">[Pg 144]</a></span></p>
+<p>Here is a poem of Whittier's that will remind every
+reader of the hymn "The Worship of Nature," which
+first appeared without a title in the "Tent on the Beach."
+And yet there is no line in it, and scarcely a phrase, which
+was used in this last named poem. I find it in the "New
+England Review," of Hartford, under date of January
+24, 1831. It would seem that "The Worship of Nature"
+was a favorite theme of his, for a still earlier treatment
+of it I have found in the "Haverhill Gazette" of October
+5, 1827, written before the poet was twenty years of age.
+It is a curious fact that while in the version of 1827 there
+are a few lines and phrases which were adopted forty
+years afterward, the lines given here are none of them
+copied in the final revision of the poem.</p>
+
+<div class="poem"><div class="titlest">
+THE WORSHIP OF NATURE</div>
+
+<div class="stanza">
+<span class="i10"><small><b>"The air</b></small><br /></span>
+<span class="i2"><small><b>Is glorious with the spirit-march</b></small><br /></span>
+<span class="i0"><small><b>Of messengers of prayer."</b></small><br /></span>
+</div><div class="stanza">
+<span class="i0">There is a solemn hymn goes up<br /></span>
+<span class="i1">From Nature to the Lord above,<br /></span>
+<span class="i0">And offerings from her incense-cup<br /></span>
+<span class="i1">Are poured in gratitude and love;<br /></span>
+<span class="i0">And from each flower that lifts its eye<br /></span>
+<span class="i1">In modest silence in the shade<br /></span>
+<span class="i0">To the strong woods that kiss the sky<br /></span>
+<span class="i1">A thankful song of praise is made.<br /></span>
+</div><div class="stanza">
+<span class="i0">There is no solitude on earth&mdash;<br /></span>
+<span class="i1">"In every leaf there is a tongue"&mdash;<br /></span>
+<span class="i0">In every glen a voice of mirth&mdash;<br /></span>
+<span class="i1">From every hill a hymn is sung;<br /></span>
+<span class="i0">And every wild and hidden dell,<br /></span>
+<span class="i1">Where human footsteps never trod,<br /></span>
+<span class="i0">Is wafting songs of joy, which tell<br /></span>
+<span class="i1">The praises of their maker&mdash;God.<br /></span>
+</div><div class="stanza">
+<span class="i0">Each mountain gives an altar birth,<br /></span>
+<span class="i1">And has a shrine to worship given;<br /></span><span class="pagenum"><a name="Page_145" id="Page_145">[Pg 145]</a></span>
+<span class="i0">Each breeze which rises from the earth<br /></span>
+<span class="i1">Is loaded with a song of Heaven;<br /></span>
+<span class="i0">Each wave that leaps along the main<br /></span>
+<span class="i1">Sends solemn music on the air,<br /></span>
+<span class="i0">And winds which sweep o'er ocean's plain<br /></span>
+<span class="i1">Bear off their voice of grateful prayer.<br /></span>
+</div><div class="stanza">
+<span class="i0">When Night's dark wings are slowly furled<br /></span>
+<span class="i1">And clouds roll off the orient sky,<br /></span>
+<span class="i0">And sunlight bursts upon the world,<br /></span>
+<span class="i1">Like angels' pinions flashing by,<br /></span>
+<span class="i0">A matin hymn unheard will rise<br /></span>
+<span class="i1">From every flower and hill and tree,<br /></span>
+<span class="i0">And songs of joy float up the skies,<br /></span>
+<span class="i1">Like holy anthems from the sea.<br /></span>
+</div><div class="stanza">
+<span class="i0">When sunlight dies, and shadows fall,<br /></span>
+<span class="i1">And twilight plumes her rosy wing,<br /></span>
+<span class="i0">Devotion's breath lifts Music's pall,<br /></span>
+<span class="i1">And silvery voices seem to sing.<br /></span>
+<span class="i0">And when the earth falls soft to rest,<br /></span>
+<span class="i1">And young wind's pinions seem to tire,<br /></span>
+<span class="i0">Then the pure streams upon its breast<br /></span>
+<span class="i1">Join their glad sounds with Nature's lyre.<br /></span>
+</div><div class="stanza">
+<span class="i0">And when the sky that bends above<br /></span>
+<span class="i1">Is lighted up with spirit fires,<br /></span>
+<span class="i0">A gladdening song of praise and love<br /></span>
+<span class="i1">Is pealing from the sky-tuned lyres;<br /></span>
+<span class="i0">And every star that throws its light<br /></span>
+<span class="i1">From off Creation's bending brow,<br /></span>
+<span class="i0">Is offering on the shrine of Night<br /></span>
+<span class="i1">The same unchanging subject-vow.<br /></span>
+</div><div class="stanza">
+<span class="i0">Thus Earth 's a temple vast and fair,<br /></span>
+<span class="i1">Filled with the glorious works of love<br /></span>
+<span class="i0">When earth and sky and sea and air<br /></span>
+<span class="i1">Join in the praise of God above;<br /></span>
+<span class="i0">And still through countless coming years<br /></span>
+<span class="i1">Unwearied songs of praise shall roll<br /></span>
+<span class="i0">On plumes of love to Him who hears<br /></span>
+<span class="i1">The softest strain in Music's soul.<br /></span>
+</div></div>
+
+<p><span class="pagenum"><a name="Page_146" id="Page_146">[Pg 146]</a></span></p>
+<p>There was a remarkable display of the aurora borealis in
+January, 1837, and this poem commemorates the phenomenon:&mdash;</p>
+
+<div class="poem"><div class="title">
+THE NORTHERN LIGHTS</div>
+
+<div class="stanza">
+<span class="i0">A light is troubling heaven! A strange dull glow<br /></span>
+<span class="i0">Hangs like a half-quenched veil of fire between<br /></span>
+<span class="i0">The blue sky and the earth; and the shorn stars<br /></span>
+<span class="i0">Gleam faint and sickly through it. Day hath left<br /></span>
+<span class="i0">No token of its parting, and the blush<br /></span>
+<span class="i0">With which it welcomed the embrace of Night<br /></span>
+<span class="i0">Has faded from the blue cheek of the West;<br /></span>
+<span class="i0">Yet from the solemn darkness of the North,<br /></span>
+<span class="i0">Stretched o'er the "empty place" by God's own hand,<br /></span>
+<span class="i0">Trembles and waves that curtain of pale fire,&mdash;<br /></span>
+<span class="i0">Tingeing with baleful and unnatural hues<br /></span>
+<span class="i0">The winter snows beneath. It is as if<br /></span>
+<span class="i0">Nature's last curse&mdash;the fearful plague of fire&mdash;<br /></span>
+<span class="i0">Were working in the elements, and the skies<br /></span>
+<span class="i0">Even as a scroll consuming.<br /></span>
+</div><div class="stanza">
+<span class="i10">Lo, a change!<br /></span>
+<span class="i0">The fiery wonder sinks, and all along<br /></span>
+<span class="i0">A dark deep crimson rests&mdash;a sea of blood,<br /></span>
+<span class="i0">Untroubled by a wave. And over all<br /></span>
+<span class="i0">Bendeth a luminous arch of pale, pure white,<br /></span>
+<span class="i0">Clearly contrasted with the blue above,<br /></span>
+<span class="i0">And the dark red beneath it. Glorious!<br /></span>
+<span class="i0">How like a pathway for the Shining Ones,<br /></span>
+<span class="i0">The pure and beautiful intelligences<br /></span>
+<span class="i0">Who minister in Heaven, and offer up<br /></span>
+<span class="i0">Their praise as incense, or like that which rose<br /></span>
+<span class="i0">Before the Pilgrim prophet, when the tread<br /></span>
+<span class="i0">Of the most holy angels brightened it,<br /></span>
+<span class="i0">And in his dream the haunted sleeper saw<br /></span>
+<span class="i0">The ascending and descending of the blest!<br /></span>
+</div><div class="stanza">
+<span class="i0">And yet another change! O'er half the sky<br /></span>
+<span class="i0">A long bright flame is trembling, like the sword<br /></span>
+<span class="i0">Of the great angel of the guarded gate<br /></span>
+<span class="i0">Of Paradise, when all the holy streams<br /></span>
+<span class="i0">And beautiful bowers of Eden-land blushed red<br /></span>
+<span class="i0">Beneath its awful wavering, and the eyes<br /></span><span class="pagenum"><a name="Page_147" id="Page_147">[Pg 147]</a></span>
+<span class="i0">Of the outcasts quailed before its glare,<br /></span>
+<span class="i0">As from the immediate questioning of God.<br /></span>
+</div><div class="stanza">
+<span class="i0">And men are gazing at these "signs in heaven,"<br /></span>
+<span class="i0">With most unwonted earnestness, and fair<br /></span>
+<span class="i0">And beautiful brows are reddening in the light<br /></span>
+<span class="i0">Of this strange vision of the upper air:<br /></span>
+<span class="i0">Even as the dwellers of Jerusalem<br /></span>
+<span class="i0">Beleaguered by the Romans&mdash;when the skies<br /></span>
+<span class="i0">Of Palestine were thronged with fiery shapes,<br /></span>
+<span class="i0">And from Antonia's tower the mailed Jew<br /></span>
+<span class="i0">Saw his own image pictured in the air,<br /></span>
+<span class="i0">Contending with the heathen; and the priest<br /></span>
+<span class="i0">Beside the temple's altar veiled his face<br /></span>
+<span class="i0">From that fire-written language of the sky.<br /></span>
+</div><div class="stanza">
+<span class="i0">Oh God of mystery! these fires are thine!<br /></span>
+<span class="i0">Thy breath hath kindled them, and there they burn<br /></span>
+<span class="i0">Amid the permanent glory of Thy heavens,<br /></span>
+<span class="i0">That earliest revelation written out<br /></span>
+<span class="i0">In starry language, visible to all,<br /></span>
+<span class="i0">Lifting unto Thyself the heavy eyes<br /></span>
+<span class="i0">Of the down-looking spirits of the earth!<br /></span>
+<span class="i0">The Indian, leaning on his hunting-bow,<br /></span>
+<span class="i0">Where the ice-mountains hem the frozen pole,<br /></span>
+<span class="i0">And the hoar architect of winter piles<br /></span>
+<span class="i0">With tireless hand his snowy pyramids,<br /></span>
+<span class="i0">Looks upward in deep awe,&mdash;while all around<br /></span>
+<span class="i0">The eternal ices kindle with the hues<br /></span>
+<span class="i0">Which tremble on their gleaming pinnacles<br /></span>
+<span class="i0">And sharp cold ridges of enduring frost,&mdash;<br /></span>
+<span class="i0">And points his child to the Great Spirit's fire.<br /></span>
+</div><div class="stanza">
+<span class="i0">Alas for us who boast of deeper lore,<br /></span>
+<span class="i0">If in the maze of our vague theories,<br /></span>
+<span class="i0">Our speculations, and our restless aim<br /></span>
+<span class="i0">To search the secret, and familiarize<br /></span>
+<span class="i0">The awful things of nature, we forget<br /></span>
+<span class="i0">To own Thy presence in Thy mysteries!<br /></span>
+</div></div>
+
+<p>This imitation of "The Old Oaken Bucket" was written
+in 1826, when Whittier was in his nineteenth year,
+and except a single stanza, no part of it was ever before<span class="pagenum"><a name="Page_148" id="Page_148">[Pg 148]</a></span>
+in print. The willow the young poet had in mind was on
+the bank of Country Brook, near Country Bridge, and
+also near the site of Thomas Whittier's log house. Mr.
+Whittier once pointed out this spot to me as one in
+which he delighted in his youth. On a grassy bank, almost
+encircled by a bend in the stream, stood, and perhaps
+still stands, just such a "storm-battered, water-washed
+willow" as is here described:&mdash;</p>
+
+<div class="poem"><div class="titlewd">
+THE WILLOW</div>
+
+<div class="stanza">
+<span class="i0">Oh, dear to my heart are the scenes which delighted<br /></span>
+<span class="i0">My fancy in moments I ne'er can recall,<br /></span>
+<span class="i0">When each happy hour new pleasures invited,<br /></span>
+<span class="i0">And hope pictured visions more lovely than all.<br /></span>
+<span class="i0">When I gazed with a light heart transported and glowing<br /></span>
+<span class="i0">On the forest-crowned hill, and the rivulet's tide,<br /></span>
+<span class="i0">O'ershaded with tall grass, and rapidly flowing<br /></span>
+<span class="i0">Around the lone willow that stood by its side&mdash;<br /></span>
+<span class="i0">The storm-battered willow, the ivy-bound willow, the water-washed willow, that grew by its side.<br /></span>
+</div><div class="stanza">
+<span class="i0">Dear scenes of past years, when the objects around me<br /></span>
+<span class="i0">Seemed forms to awaken the transports of joy;<br /></span>
+<span class="i0">Ere yet the dull cares of experience had found me,<br /></span>
+<span class="i0">The dearly-loved visions of youth to destroy,&mdash;<br /></span>
+<span class="i0">Ye seem to awaken, whene'er I discover<br /></span>
+<span class="i0">The grass-shadowed rivulet rapidly glide,<br /></span>
+<span class="i0">The green verdant meads of the vale wandering over<br /></span>
+<span class="i0">And laving the willows that stand by its side&mdash;<br /></span>
+<span class="i0">The storm-battered willow, the ivy-bound willow, the water-washed willow, that stands by its side;&mdash;<br /></span>
+</div><div class="stanza">
+<span class="i0">How oft 'neath the shade of that wide-spreading willow<br /></span>
+<span class="i0">I have laid myself down from anxiety free,<br /></span>
+<span class="i0">Reclining my head on the green grassy pillow,<br /></span>
+<span class="i0">That waved round the roots of that dearly-loved tree;<br /></span>
+<span class="i0">Where swift from the far distant uplands descending,<br /></span>
+<span class="i0">In the bright sunbeam sparkling, the rivulet's tide<br /></span>
+<span class="i0">With murmuring echoes came gracefully wending<br /></span>
+<span class="i0">Its course round the willow that stood by its side&mdash;<br /></span>
+<span class="i0">The storm-battered willow, the ivy-bound willow, the water-washed willow that stood by its side.<br /></span>
+</div><span class="pagenum"><a name="Page_149" id="Page_149">[Pg 149]</a></span>
+<div class="stanza">
+<span class="i0">Haunts of my childhood, that used to awaken<br /></span>
+<span class="i0">Emotions of joy in my infantile breast,<br /></span>
+<span class="i0">Ere yet the fond pleasures of youth had forsaken<br /></span>
+<span class="i0">My bosom, and all the bright dreams you impressed<br /></span>
+<span class="i0">On my memory had faded, ye give not the feeling<br /></span>
+<span class="i0">Of joy that ye did, when I gazed on the tide,<br /></span>
+<span class="i0">As gracefully winding, its currents came stealing<br /></span>
+<span class="i0">Around the lone willow that stood by its side&mdash;<br /></span>
+<span class="i0">The storm-battered willow, the ivy-bound willow, the water-washed willow, that stood by its side.<br /></span>
+</div></div>
+
+<p>This is a fragment of a poem written in the album of
+a cousin in Philadelphia, in 1838. It was never before in
+print:&mdash;</p>
+
+<div class="poem"><div class="title">
+THE USES OF SORROW</div>
+
+<div class="stanza">
+<span class="i0">It may be that tears at whiles<br /></span>
+<span class="i0">Should take the place of folly's smiles,<br /></span>
+<span class="i0">When 'neath some Heaven-directed blow,<br /></span>
+<span class="i0">Like those of Horeb's rock, they flow;<br /></span>
+<span class="i0">For sorrows are in mercy given<br /></span>
+<span class="i0">To fit the chastened soul for Heaven;<br /></span>
+<span class="i0">Prompting with woe and weariness<br /></span>
+<span class="i0">Our yearning for that better sky,<br /></span>
+<span class="i0">Which, as the shadows close on this,<br /></span>
+<span class="i0">Grows brighter to the longing eye.<br /></span>
+<span class="i0">For each unwelcome blow may break,<br /></span>
+<span class="i0">Perchance, some chain which binds us here;<br /></span>
+<span class="i0">And clouds around the heart may make<br /></span>
+<span class="i0">The vision of our faith more clear;<br /></span>
+<span class="i0">As through the shadowy veil of even<br /></span>
+<span class="i0">The eye looks farthest into Heaven,<br /></span>
+<span class="i0">On gleams of star, and depths of blue,<br /></span>
+<span class="i0">The fervid sunshine never knew!<br /></span>
+</div></div>
+
+<p>In the summer of 1856, Charles A. Dana, then one of
+the editors of the New York "Tribune," wrote to Whittier,
+calling upon him for campaign songs for Fremont. He
+said: "A powerful means of exciting and maintaining the
+spirit of freedom in the coming decisive contest must be
+songs. If we are to conquer, as I trust in God we are, a<span class="pagenum"><a name="Page_150" id="Page_150">[Pg 150]</a></span>
+great deal must be done by that genial and inspiring
+stimulant." Whittier responded with several songs sung
+during the campaign for free Kansas, but the following
+lines for some reason he desired should appear without
+his name, either in the "National Era," in which they
+first appeared, August 14, 1856, or with the music to which
+they were set. A recently discovered letter, written by him
+to a friend in Philadelphia who was intrusted to set the
+song to music, avows its authorship, and also credits to
+his sister Elizabeth another song, "Fremont's Ride," published
+in the same number of the "Era." As the brother
+probably had some hand in the composition of this last-mentioned
+piece, it is given here. This is Whittier's
+song:&mdash;</p>
+
+<div class="poem"><div class="title">
+WE 'RE FREE</div>
+
+<div class="stanza">
+<span class="i0">The robber o'er the prairie stalks<br /></span>
+<span class="i1">And calls the land his own,<br /></span>
+<span class="i0">And he who talks as Slavery talks<br /></span>
+<span class="i1">Is free to talk alone.<br /></span>
+<span class="i4">But tell the knaves we are not slaves,<br /></span>
+<span class="i6">And tell them slaves we ne'er will be;<br /></span>
+<span class="i4">Come weal or woe, the world shall know.<br /></span>
+<span class="i6">We 're free, we 're free, we 're free.<br /></span>
+</div><div class="stanza">
+<span class="i0">Oh, watcher on the outer wall,<br /></span>
+<span class="i1">How wears the night away?<br /></span>
+<span class="i0">I hear the birds of morning call,<br /></span>
+<span class="i1">I see the break of day!<br /></span>
+<span class="i4">Rise, tell the knaves, etc.<br /></span>
+</div><div class="stanza">
+<span class="i0">The hands that hold the sword and purse<br /></span>
+<span class="i1">Ere long shall lose their prey;<br /></span>
+<span class="i0">And they who blindly wrought the curse,<br /></span>
+<span class="i1">The curse shall sweep away!<br /></span>
+<span class="i4">Then tell the knaves, etc.<br /></span>
+</div><div class="stanza">
+<span class="i0">The land again in peace shall rest,<br /></span>
+<span class="i1">With blood no longer stained;<br /></span>
+<span class="i0">The virgin beauty of the West<br /></span>
+<span class="i1">Shall be no more profaned.<br /></span>
+<span class="i4">We 'll teach the knaves, etc.<br /></span>
+</div><span class="pagenum"><a name="Page_151" id="Page_151">[Pg 151]</a></span>
+<div class="stanza">
+<span class="i0">The snake about her cradle twined,<br /></span>
+<span class="i1">Shall infant Kansas tear;<br /></span>
+<span class="i0">And freely on the Western wind<br /></span>
+<span class="i1">Shall float her golden hair!<br /></span>
+<span class="i4">So tell the knaves, etc.<br /></span>
+</div><div class="stanza">
+<span class="i0">Then let the idlers stand apart,<br /></span>
+<span class="i1">And cowards shun the fight;<br /></span>
+<span class="i0">We'll band together, heart to heart,<br /></span>
+<span class="i1">Forget, forgive, unite!<br /></span>
+<span class="i4">And tell the knaves we are not slaves,<br /></span>
+<span class="i6">And tell them slaves we ne'er will be;<br /></span>
+<span class="i4">Come weal or woe, the world shall know<br /></span>
+<span class="i6">We 're free, we 're free, we 're free!<br /></span>
+</div></div>
+
+<p>It was Whittier's habit to freely suggest lines and even
+whole stanzas for poems submitted to him for criticism,
+and it may be readily believed that his hand is shown in
+this campaign song of his sister's:&mdash;</p>
+
+<div class="poem"><div class="titlewd">
+FREMONT'S RIDE</div>
+
+<div class="stanza">
+<span class="i0">As his mountain men followed, undoubting and bold,<br /></span>
+<span class="i0">O'er hill and o'er desert, through tempest and cold,<br /></span>
+<span class="i0">So the people now burst from each fetter and thrall,<br /></span>
+<span class="i0">And answer with shouting the wild bugle call.<br /></span>
+<span class="i4">Who 'll follow? Who 'll follow?<br /></span>
+<span class="i6">The bands gather fast;<br /></span>
+<span class="i4">They who ride with Fremont<br /></span>
+<span class="i6">Ride in triumph at last!<br /></span>
+</div><div class="stanza">
+<span class="i0">Oh, speed the bold riders! fling loose every rein,<br /></span>
+<span class="i0">The race run for freedom is not run in vain;<br /></span>
+<span class="i0">From mountain and prairie, from lake and from sea,<br /></span>
+<span class="i0">Ride gallant and hopeful, ride fearless and free!<br /></span>
+<span class="i4">Who 'll follow, etc.<br /></span>
+</div><div class="stanza">
+<span class="i0">The shades of the Fathers for Freedom who died,<br /></span>
+<span class="i0">As they rode in the war storm, now ride at our side;<br /></span>
+<span class="i0">Their great souls shall strengthen our own for the fray,<br /></span>
+<span class="i0">And the glance of our leader make certain the way.<br /></span>
+<span class="i4">Then follow, etc.<br /></span>
+</div><span class="pagenum"><a name="Page_152" id="Page_152">[Pg 152]</a></span>
+<div class="stanza">
+<span class="i0">We ride not for honors, ambition or place,<br /></span>
+<span class="i0">But the wrong to redress, and redeem the disgrace;<br /></span>
+<span class="i0">Not for the North, nor for South, but the best good of all,<br /></span>
+<span class="i0">We follow Fremont, and his wild bugle call!<br /></span>
+<span class="i4">Who 'll follow? Who 'll follow?<br /></span>
+<span class="i6">The bands gather fast;<br /></span>
+<span class="i4">They who ride with Fremont<br /></span>
+<span class="i6">Ride in triumph at last!<br /></span>
+</div></div>
+
+<p>The following poem was written at the close of his
+last term at the Academy, and was published in the "Haverhill
+Gazette" of October 4, 1828, signed "Adrian."
+Probably no other poem written by him in those days
+was so universally copied by the press of the whole country.
+Its rather pessimistic tone no doubt caused the
+poet to omit it from collections made after the great
+change in his outlook upon life to which reference has
+been made on another page.</p>
+
+<div class="poem"><div class="titlewd">
+THE TIMES</div>
+
+<div class="stanza">
+<span class="i2"><small><b>"Oh dear! oh dear! I grieve, I grieve,</b></small><br /></span>
+<span class="i3"><small><b>For the good old days of Adam and Eve."</b></small><br /></span>
+</div><div class="stanza">
+<span class="i0">The times, the times, I say, the times are growing worse than ever;<br /></span>
+<span class="i0">The good old ways our fathers trod shall grace their children never.<br /></span>
+<span class="i0">The homely hearth of ancient mirth, all traces of the plough,<br /></span>
+<span class="i0">The places of their worship, are all forgotten now!<br /></span>
+</div><div class="stanza">
+<span class="i0">Farewell the farmers' honest looks and independent mien,<br /></span>
+<span class="i0">The tassel of his waving corn, the blossom of the bean,<br /></span>
+<span class="i0">The turnip top, the pumpkin vine, the produce of his toil,<br /></span>
+<span class="i0">Have given place to flower pots, and plants of foreign soil.<br /></span>
+</div><div class="stanza">
+<span class="i0">Farewell the pleasant husking match, its merry after scenes,<br /></span>
+<span class="i0">When Indian pudding smoked beside the giant pot of beans;<br /></span>
+<span class="i0">When ladies joined the social band, nor once affected fear,<br /></span>
+<span class="i0">But gave a pretty cheek to kiss for every crimson ear.<br /></span>
+</div><span class="pagenum"><a name="Page_153" id="Page_153">[Pg 153]</a></span>
+<div class="stanza">
+<span class="i0">Affected modesty was not the test of virtue then,<br /></span>
+<span class="i0">And few took pains to swoon away at sight of ugly men;<br /></span>
+<span class="i0">For well they knew the purity which woman's heart should own<br /></span>
+<span class="i0">Depends not on appearances, but on the heart alone.<br /></span>
+</div><div class="stanza">
+<span class="i0">Farewell unto the buoyancy and openness of youth&mdash;<br /></span>
+<span class="i0">The confidence of kindly hearts&mdash;the consciousness of truth,<br /></span>
+<span class="i0">The honest tone of sympathy&mdash;the language of the heart&mdash;<br /></span>
+<span class="i0">Now cursed by fashion's tyranny, or turned aside by art.<br /></span>
+</div><div class="stanza">
+<span class="i0">Farewell the social quilting match, the song, the merry play,<br /></span>
+<span class="i0">The whirling of a pewter plate, the merry fines to pay,<br /></span>
+<span class="i0">The mimic marriage brought about by leaping o'er a broom,<br /></span>
+<span class="i0">The good old blind man's buff, the laugh that shook the room.<br /></span>
+</div><div class="stanza">
+<span class="i0">Farewell the days of industry&mdash;the time has glided by<br /></span>
+<span class="i0">When pretty hands were prettiest in making pumpkin pie.<br /></span>
+<span class="i0">When waiting maids were needed not, and morning brought along<br /></span>
+<span class="i0">The music of the spinning wheel, the milkmaid's careless song.<br /></span>
+</div><div class="stanza">
+<span class="i0">Ah, days of artless innocence! Your dwellings are no more,<br /></span>
+<span class="i0">And ye are turning from the path our fathers trod before;<br /></span>
+<span class="i0">The homely hearth of honest mirth, all traces of the plough,<br /></span>
+<span class="i0">The places of their worshiping, are all forgotten now!<br /></span>
+</div></div>
+
+<p>I find among Mr. Whittier's papers the first draft of a
+poem that he does not seem to have prepared for publication.
+As it was written on the back of a note he received
+in March, 1890, that was probably the date of its composition:&mdash;</p>
+
+<div class="poem"><div class="titlest">
+A SONG OF PRAISES</div>
+
+<div class="stanza">
+<span class="i0">For the land that gave me birth;<br /></span>
+<span class="i0">For my native home and hearth;<br /></span>
+<span class="i0">For the change and overturning<br /></span>
+<span class="i0">Of the times of my sojourning;<br /></span>
+<span class="i0">For the world-step forward taken;<br /></span>
+<span class="i0">For an evil way forsaken;<br /></span>
+<span class="i1">For cruel law abolished;<br /></span>
+<span class="i1">For idol shrines demolished;<br /></span><span class="pagenum"><a name="Page_154" id="Page_154">[Pg 154]</a></span>
+<span class="i0">For the tools of peaceful labor<br /></span>
+<span class="i0">Wrought from broken gun and sabre;<br /></span>
+<span class="i0">For the slave-chain rent asunder<br /></span>
+<span class="i0">And by free feet trodden under;<br /></span>
+<span class="i0">For the truth defeating error;<br /></span>
+<span class="i0">For the love that casts out terror;<br /></span>
+<span class="i0">For the truer, clearer vision<br /></span>
+<span class="i0">Of Humanity's great mission;&mdash;<br /></span>
+<span class="i1">For all that man upraises,<br /></span>
+<span class="i1">I sing this song of praises.<br /></span>
+</div></div>
+
+<p>The following poem is a variant of the "Hymn for the
+Opening of Thomas Starr King's House of Worship,"
+and was contributed in 1883 to a fair in aid of an Episcopal
+chapel at Holderness, N. H.</p>
+
+<div class="poem"><div class="titlewd">
+UNITY</div>
+
+<div class="stanza">
+<span class="i0">Forgive, O Lord, our severing ways,<br /></span>
+<span class="i0">The separate altars that we raise,<br /></span>
+<span class="i0">The varying tongues that speak Thy praise!<br /></span>
+</div><div class="stanza">
+<span class="i0">Suffice it now. In time to be<br /></span>
+<span class="i0">Shall one great temple rise to Thee,<br /></span>
+<span class="i0">Thy church our broad humanity.<br /></span>
+</div><div class="stanza">
+<span class="i0">White flowers of love its walls shall climb,<br /></span>
+<span class="i0">Sweet bells of peace shall ring its chime,<br /></span>
+<span class="i0">Its days shall all be holy time.<br /></span>
+</div><div class="stanza">
+<span class="i0">The hymn, long sought, shall then be heard,<br /></span>
+<span class="i0">The music of the world's accord,<br /></span>
+<span class="i0">Confessing Christ, the inward word!<br /></span>
+</div><div class="stanza">
+<span class="i0">That song shall swell from shore to shore,<br /></span>
+<span class="i0">One faith, one love, one hope restore<br /></span>
+<span class="i0">The seamless garb that Jesus wore!<br /></span>
+</div></div>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="FOOTNOTES" id="FOOTNOTES"></a>FOOTNOTES:</h2>
+
+<div class="footnote"><p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> This story is told more fully in <i>Life and Letters</i>,
+pp. 53, 54.</p></div>
+
+<div class="footnote"><p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> This picture is reproduced from a drawing by Miss Francesca
+Alexander in her exquisite volume, <i>Tuscan Songs</i>. It is the face of
+an Italian peasant, but bears so extraordinary a resemblance to
+Harriet Livermore (as testified by several who knew her) that it is
+here given as representing her better than any known portrait.</p></div>
+
+<div class="footnote"><p><a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span class="label">[3]</span></a> This letter has been published in full in a limited
+edition, by Mr. Goodspeed, together with a New Year's Address referred
+to in it as having given offense to some of the citizens of Rocks
+Village. A portion of this Address (which appeared in the <i>Haverhill
+Gazette</i>, January 5, 1828) is given in <i>Life and Letters</i>,
+pp. 62, 63. The lines that seem to have given offense are these:&mdash;
+<br /><br />
+<span style="margin-left: 4em;">"<i>Rocks</i> folks are wide awake&mdash;their old bridge tumbled</span><br />
+<span style="margin-left: 6em;">Some years ago, and left them all forsaken;</span><br />
+<span style="margin-left: 4em;">But they have risen, tired of being humbled,</span><br />
+<span style="margin-left: 6em;">And the first steps towards a new one taken.</span><br />
+<span style="margin-left: 4em;">They're all alive&mdash;their trade becomes more clever,</span><br />
+<span style="margin-left: 4em;">And mobs and riots flourish well as ever."</span><br />
+<br />
+
+Thirty-five years later, perhaps remembering the offense he had given
+in his youth by his portrayal of the <i>liveliness</i> of the place, he
+shaded his picture in <i>The Countess</i> with a different pencil, and we
+have a "stranded village" sketched to the life.</p></div>
+
+<div class="footnote"><p><a name="Footnote_4_4" id="Footnote_4_4"></a><a href="#FNanchor_4_4"><span class="label">[4]</span></a> It is of curious interest that although the poem
+<i>Memories</i> was first published in 1841, the description of the
+"beautiful and happy girl" in its opening lines is identical with that
+of one of the characters in <i>Moll Pitcher</i>, published nine years
+earlier, and I have authority for saying that Mary Smith was in mind
+when that portrait was drawn. Probably the reason why Whittier never
+allowed <i>Moll Pitcher</i> to be collected was because he used lines from
+it in poems written at later dates.</p></div>
+
+<div class="footnote"><p><a name="Footnote_5_5" id="Footnote_5_5"></a><a href="#FNanchor_5_5"><span class="label">[5]</span></a> This is how it happened: Mr. Downey saw a newspaper item
+to the effect that Mrs. S. F. Smith was a classmate of Whittier's. He
+knew that his wife was a classmate of Mrs. Smith, and "put this and
+that together." Without saying anything to her about it, he sent a
+tract of his to Whittier, and with it a note about his work as an
+evangelist; in a postscript he said, "Did you ever know Evelina Bray?"
+Whittier wrote a criticism of the tract, which was against Colonel
+Ingersoll, in which he said, "It occurs to me to say that in thy tract
+there is hardly enough charity for that unfortunate man, who, it seems
+to me, is much to be pitied for his darkness of unbelief." He added as
+a postscript, "What does <i>thee</i> know about Evelina Bray?" Downey
+replied that she was his wife, but did not let her know of this
+correspondence, or of his receipt of money from her old schoolmate. He
+was not poor, only eccentric.</p></div>
+
+<div class="footnote"><p><a name="Footnote_6_6" id="Footnote_6_6"></a><a href="#FNanchor_6_6"><span class="label">[6]</span></a> This house is now cared for by the Josiah Bartlett chapter
+of the Daughters of the Revolution.</p></div>
+
+<div class="footnote"><p><a name="Footnote_7_7" id="Footnote_7_7"></a><a href="#FNanchor_7_7"><span class="label">[7]</span></a> The house of these brothers and the barn in which the
+husking was held may be seen near the West Ossipee station of the
+Boston and Maine Railroad. The Bearcamp House was burned many years
+ago, and never rebuilt.</p></div>
+
+<div class="footnote"><p><a name="Footnote_8_8" id="Footnote_8_8"></a><a href="#FNanchor_8_8"><span class="label">[8]</span></a> There was a forest fire on a shoulder of Chocorua at this
+time.</p></div>
+
+<div class="footnote"><p><a name="Footnote_9_9" id="Footnote_9_9"></a><a href="#FNanchor_9_9"><span class="label">[9]</span></a> She was knitting at the time.</p></div>
+
+<div class="footnote"><p><a name="Footnote_10_10" id="Footnote_10_10"></a><a href="#FNanchor_10_10"><span class="label">[10]</span></a> She had refused to sing that evening.</p></div>
+
+<div class="footnote"><p><a name="Footnote_11_11" id="Footnote_11_11"></a><a href="#FNanchor_11_11"><span class="label">[11]</span></a> Lucy Larcom was then suffering from hay fever.</p></div>
+
+<div class="footnote"><p><a name="Footnote_12_12" id="Footnote_12_12"></a><a href="#FNanchor_12_12"><span class="label">[12]</span></a> The papers had an item to the effect that some one had
+given Whittier a cottage at the Isles of Shoals.</p></div>
+
+<div class="footnote"><p><a name="Footnote_13_13" id="Footnote_13_13"></a><a href="#FNanchor_13_13"><span class="label">[13]</span></a> The only lawyer present.</p></div>
+
+<div class="footnote"><p><a name="Footnote_14_14" id="Footnote_14_14"></a><a href="#FNanchor_14_14"><span class="label">[14]</span></a> A line is here missing. I had the copy of this poem from
+Mr. Weld himself when he was ninety years of age. He had accidentally
+omitted it in copying for me; and his death occurred before the
+omission was noticed.</p></div>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_155" id="Page_155">[Pg 155]</a></span></p>
+<h2><big>INDEX</big></h2>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_157" id="Page_157">[Pg 157]</a></span></p>
+<h2><a name="INDEX" id="INDEX"></a>INDEX</h2>
+
+
+<p>
+"Abram Morrison," <a href="#Page_86">86</a>.<br />
+<br />
+"Adrian," <a href="#Page_152">152</a>.<br />
+<br />
+Agamenticus, <a href="#Page_86">86</a>, <a href="#Page_89">89</a>.<br />
+<br />
+Aldrich, T. B., <a href="#Page_75">75</a>.<br />
+<br />
+Allinson, Francis Greenleaf, <a href="#Page_39">39</a>.<br />
+<br />
+Allinson, W. J., <a href="#Page_39">39</a>.<br />
+<br />
+American Manufacturer, <a href="#Page_69">69</a>, <a href="#Page_71">71</a>, <a href="#Page_102">102</a>, <a href="#Page_136">136</a>.<br />
+<br />
+Amesbury, <a href="#Page_3">3</a>, <a href="#Page_42">42</a>, <a href="#Page_55">55</a>-<a href="#Page_89">89</a>.<br />
+<br />
+Amesbury public library, <a href="#Page_95">95</a>.<br />
+<br />
+Ancient desk, <a href="#Page_20">20</a>.<br />
+<br />
+Andover, <a href="#Page_5">5</a>.<br />
+<br />
+Anecdotes as told by Whittier:<br />
+<span style="margin-left: 1em;">Aunt Mercy's vision, <a href="#Page_22">22</a>, <a href="#Page_23">23</a>;</span><br />
+<span style="margin-left: 1em;">Country Bridge ghost, <a href="#Page_15">15</a>;</span><br />
+<span style="margin-left: 1em;">conscience stirred by thunderstorm, <a href="#Page_27">27</a>;</span><br />
+<span style="margin-left: 1em;">Elizabeth's practical joke, <a href="#Page_28">28</a>;</span><br />
+<span style="margin-left: 1em;">the "tipsy wife," <a href="#Page_31">31</a>, <a href="#Page_32">32</a>;</span><br />
+<span style="margin-left: 1em;">cold drives to Amesbury, <a href="#Page_33">33</a>;</span><br />
+<span style="margin-left: 1em;">"Old Butler," <a href="#Page_36">36</a>;</span><br />
+<span style="margin-left: 1em;">the Morse boys, <a href="#Page_36">36</a>;</span><br />
+<span style="margin-left: 1em;">Garrison's first visit, <a href="#Page_37">37</a>;</span><br />
+<span style="margin-left: 1em;">a Quaker swaps cows, <a href="#Page_37">37</a>;</span><br />
+<span style="margin-left: 1em;">"the power of figures," <a href="#Page_40">40</a>-<a href="#Page_42">42</a>;</span><br />
+<span style="margin-left: 1em;">instance of guidance of spirit, <a href="#Page_82">82</a>, <a href="#Page_83">83</a>;</span><br />
+<span style="margin-left: 1em;">legend of Po Hill, <a href="#Page_85">85</a>, <a href="#Page_86">86</a>;</span><br />
+<span style="margin-left: 1em;">Chase characterizes Lincoln's stories, <a href="#Page_98">98</a>;</span><br />
+<span style="margin-left: 1em;">Hiram Collins and Emerson, <a href="#Page_98">98</a>, <a href="#Page_99">99</a>.</span><br />
+<br />
+Anecdotes related of Whittier:<br />
+<span style="margin-left: 1em;">Last visit to birthplace, <a href="#Page_24">24</a>-<a href="#Page_38">38</a>;</span><br />
+<span style="margin-left: 1em;">the fire on the hearth, <a href="#Page_26">26</a>;</span><br />
+<span style="margin-left: 1em;">attempt at levitation, <a href="#Page_28">28</a>;</span><br />
+<span style="margin-left: 1em;">visits site of "In School Days," <a href="#Page_32">32</a>;</span><br />
+<span style="margin-left: 1em;">cherry-tree incident, <a href="#Page_34">34</a>;</span><br />
+<span style="margin-left: 1em;">story of Evelina Bray, <a href="#Page_68">68</a>-<a href="#Page_72">72</a>;</span><br />
+<span style="margin-left: 1em;">receives lightning stroke, <a href="#Page_73">73</a>;</span><br />
+<span style="margin-left: 1em;">taking notes at Quaker meeting, <a href="#Page_82">82</a>;</span><br />
+<span style="margin-left: 1em;">sees mirage at Salisbury Beach, <a href="#Page_91">91</a>;</span><br />
+<span style="margin-left: 1em;">Miss Phelps describes first meeting, <a href="#Page_102">102</a>;</span><br />
+<span style="margin-left: 1em;">thirteen at table, <a href="#Page_93">93</a>, <a href="#Page_94">94</a>;</span><br />
+<span style="margin-left: 1em;">clock strikes mysteriously, <a href="#Page_95">95</a>;</span><br />
+<span style="margin-left: 1em;">the May Quarterly Meeting, <a href="#Page_96">96</a>;</span><br />
+<span style="margin-left: 1em;">saving money for funeral expenses, <a href="#Page_96">96</a>;</span><br />
+<span style="margin-left: 1em;">the pet parrot, <a href="#Page_97">97</a>, <a href="#Page_98">98</a>;</span><br />
+<span style="margin-left: 1em;">husking at West Ossipee, <a href="#Page_111">111</a>-<a href="#Page_114">114</a>;</span><br />
+<span style="margin-left: 1em;">an evening at Bearcamp, <a href="#Page_114">114</a>-<a href="#Page_118">118</a>;</span><br />
+<span style="margin-left: 1em;">Alice Freeman Palmer's story, <a href="#Page_118">118</a>, <a href="#Page_119">119</a>;</span><br />
+<span style="margin-left: 1em;">contract of perpetual bachelorhood, <a href="#Page_119">119</a>;</span><br />
+<span style="margin-left: 1em;">his English Quaker guest, <a href="#Page_122">122</a>;</span><br />
+<span style="margin-left: 1em;">escapes dedication of Bartlett statue, <a href="#Page_122">122</a>.</span><br />
+<br />
+Anti-Masonic poem, <a href="#Page_141">141</a>.<br />
+<br />
+Appledore, <a href="#Page_92">92</a>.<br />
+<br />
+Artichoke River, <a href="#Page_57">57</a>, <a href="#Page_58">58</a>.<br />
+<br />
+"A Sea Dream," <a href="#Page_69">69</a>.<br />
+<br />
+"A Song of Praises," <a href="#Page_153">153</a>, <a href="#Page_154">154</a>.<br />
+<br />
+Ayer, Capt. Edmund, <a href="#Page_29">29</a>, <a href="#Page_30">30</a>.<br />
+<br />
+Ayer, Lydia, <a href="#Page_26">26</a>, <a href="#Page_30">30</a>.<br />
+<br />
+Ayer, Lydia Amanda (Mrs. Evans), <a href="#Page_30">30</a>.<br />
+<br />
+Ayer, Mrs., <a href="#Page_117">117</a>.<br />
+<br />
+<br />
+Bagley, Valentine, <a href="#Page_84">84</a>.<br />
+<br />
+Bailey, Mary, <a href="#Page_116">116</a>.<br />
+<br />
+Bailey's Hill, <a href="#Page_83">83</a>.<br />
+<br />
+Bancroft, George, <a href="#Page_64">64</a>.<br />
+<br />
+Barnard, Mary, <a href="#Page_96">96</a>.<br />
+<br />
+Bartlett, Josiah, <a href="#Page_84">84</a>, <a href="#Page_122">122</a>-<a href="#Page_125">125</a>.<br />
+<br />
+Bearcamp House, <a href="#Page_110">110</a>-<a href="#Page_117">117</a>.<br />
+<br />
+Beecher, Catherine, <a href="#Page_70">70</a>.<br />
+<br />
+Beecher, Henry Ward, <a href="#Page_76">76</a>.<br />
+<br />
+Birchy Meadow, <a href="#Page_44">44</a>.<br />
+<br />
+Birthplace of Whittier, <a href="#Page_8">8</a>, <a href="#Page_9">9</a>-<a href="#Page_40">40</a>.<br />
+<br />
+Blaine, James G., <a href="#Page_64">64</a>, <a href="#Page_77">77</a>, <a href="#Page_78">78</a>.<br />
+<br />
+Boar's Head, <a href="#Page_86">86</a>, <a href="#Page_89">89</a>.<br />
+<br />
+Bonny Beag, <a href="#Page_86">86</a>.<br />
+<br />
+Boon Island, <a href="#Page_86">86</a>.<br />
+<br />
+Boston "Statesman," <a href="#Page_102">102</a>.<br />
+<br />
+Boutelle, Thomas E., <a href="#Page_99">99</a>.<br />
+<br />
+Boyd, Rev. P. S., <a href="#Page_4">4</a>.<br />
+<br />
+Boynton, E. Moody, <a href="#Page_122">122</a>-<a href="#Page_124">124</a>.<br />
+<br />
+Bradbury, Judge, and wife, <a href="#Page_56">56</a>.<br />
+<br />
+Bradford, <a href="#Page_3">3</a>.<br />
+<br />
+Bradstreet, Anne, <a href="#Page_5">5</a>.<br />
+<br />
+Bray, Evelina, <a href="#Page_68">68</a>, <a href="#Page_71">71</a>.<br />
+<br />
+Brown's Hill, <a href="#Page_84">84</a>.<br />
+<br />
+Burnham, Thomas E., <a href="#Page_38">38</a>.<br />
+<br />
+Burroughs, George, <a href="#Page_101">101</a>.<br />
+<br />
+Butler, Benjamin F., <a href="#Page_36">36</a>.<br />
+<br />
+Butler, Philip, <a href="#Page_76">76</a>.<br />
+<br />
+Butters, Charles, <a href="#Page_38">38</a>.<br />
+<br />
+Byron, Lord, <a href="#Page_134">134</a>-<a href="#Page_136">136</a>.<br />
+<br />
+<br />
+Caldwell, Adelaide, <a href="#Page_112">112</a>, <a href="#Page_113">113</a>, <a href="#Page_117">117</a>.<br />
+<br />
+Caldwell, Louis, <a href="#Page_113">113</a>.<br />
+<br />
+Caldwell, Mary (Whittier), <a href="#Page_25">25</a>, <a href="#Page_74">74</a>.<br />
+<br />
+Cape Ann, <a href="#Page_86">86</a>.<br />
+<br />
+Captain's Well, The, <a href="#Page_83">83</a>, <a href="#Page_84">84</a>.<br />
+<br />
+Carleton, James H., <a href="#Page_38">38</a>.<br />
+<br />
+Cartland, Gertrude (Whittier), <a href="#Page_20">20</a>, <a href="#Page_104">104</a>, <a href="#Page_113">113</a>.<br />
+<br />
+Cartland house, Newburyport, <a href="#Page_20">20</a>, <a href="#Page_101">101</a>.<br />
+<br />
+Cartland, Joseph, <a href="#Page_82">82</a>, <a href="#Page_85">85</a>, <a href="#Page_92">92</a>, <a href="#Page_104">104</a>, <a href="#Page_113">113</a>.<br />
+<br />
+Catalogue of father's library, <a href="#Page_24">24</a>, <a href="#Page_25">25</a>.<br />
+<br />
+Cate, George W., <a href="#Page_101">101</a>.<br />
+<br />
+Centre Harbor, N. H., <a href="#Page_99">99</a>, <a href="#Page_110">110</a>, <a href="#Page_113">113</a>.<br />
+<br />
+Chain Bridge, <a href="#Page_59">59</a>, <a href="#Page_60">60</a>.<br />
+<br />
+Chamber in which Whittier died, <a href="#Page_94">94</a>.<br />
+<br />
+"Changeling, The," <a href="#Page_92">92</a>.<br />
+<br />
+Chase, Aaron, <a href="#Page_30">30</a>, <a href="#Page_32">32</a>.<br />
+<br />
+Chase, Mrs. Moses, <a href="#Page_32">32</a>.<br />
+<br />
+Chase, Salmon P., <a href="#Page_98">98</a>.<br />
+<br />
+Child, Lydia Maria, <a href="#Page_75">75</a>.<br />
+<br />
+Chocorua, <a href="#Page_110">110</a>-<a href="#Page_115">115</a>.<br />
+<br />
+Churchill, J. W., <a href="#Page_123">123</a>.<br />
+<span class="pagenum"><a name="Page_158" id="Page_158">[Pg 158]</a></span><br />
+Claflin, William, <a href="#Page_102">102</a>, <a href="#Page_118">118</a>.<br />
+<br />
+Clarkson, Thomas, <a href="#Page_25">25</a>.<br />
+<br />
+Clay, Henry, <a href="#Page_77">77</a>, <a href="#Page_141">141</a>.<br />
+<br />
+"Cobbler Keezar's Vision," <a href="#Page_86">86</a>.<br />
+<br />
+Coffin, Joshua, <a href="#Page_26">26</a>, <a href="#Page_30">30</a>, <a href="#Page_31">31</a>, <a href="#Page_103">103</a>, <a href="#Page_104">104</a>.<br />
+<br />
+Coggswell, William, <a href="#Page_64">64</a>.<br />
+<br />
+Collier, Rev. William R., <a href="#Page_102">102</a>.<br />
+<br />
+Collins, Hiram, <a href="#Page_124">124</a>.<br />
+<br />
+"Common Question, The," <a href="#Page_97">97</a>.<br />
+<br />
+Corliss Hill, <a href="#Page_30">30</a>-<a href="#Page_32">32</a>.<br />
+<br />
+"Countess, The," <a href="#Page_47">47</a>, <a href="#Page_51">51</a>.<br />
+<br />
+Country Bridge, <a href="#Page_14">14</a>, <a href="#Page_15">15</a>, <a href="#Page_46">46</a>.<br />
+<br />
+Country Brook, <a href="#Page_14">14</a>-<a href="#Page_17">17</a>, <a href="#Page_104">104</a>.<br />
+<br />
+Crane Neck, <a href="#Page_86">86</a>.<br />
+<br />
+Currier, Horace, <a href="#Page_117">117</a>.<br />
+<br />
+Curson's Mill, <a href="#Page_57">57</a>, <a href="#Page_58">58</a>.<br />
+<br />
+Cushing, Caleb, <a href="#Page_5">5</a>.<br />
+<br />
+<br />
+Dana, Charles A., <a href="#Page_149">149</a>.<br />
+<br />
+Danvers, <a href="#Page_86">86</a>.<br />
+<br />
+Daughters of the Revolution, <a href="#Page_84">84</a>.<br />
+<br />
+Davis, Robert T., <a href="#Page_122">122</a>.<br />
+<br />
+Deer Island, <a href="#Page_5">5</a>, <a href="#Page_58">58</a>-<a href="#Page_60">60</a>.<br />
+<br />
+Dickens, Charles, <a href="#Page_108">108</a>.<br />
+<br />
+"Division, The," <a href="#Page_109">109</a>.<br />
+<br />
+Douglass, Frederick, <a href="#Page_64">64</a>.<br />
+<br />
+Downey, Evelina (Bray), <a href="#Page_71">71</a>.<br />
+<br />
+Downey, W. S., <a href="#Page_70">70</a>.<br />
+<br />
+Duncan, Sarah M. F., <a href="#Page_38">38</a>.<br />
+<br />
+Dustin, Hannah, <a href="#Page_40">40</a>.<br />
+<br />
+<br />
+East Haverhill, <a href="#Page_3">3</a>.<br />
+<br />
+East Haverhill church, <a href="#Page_51">51</a>.<br />
+<br />
+Ela, Amelia, <a href="#Page_19">19</a>.<br />
+<br />
+"Eleanor," <a href="#Page_46">46</a>.<br />
+<br />
+Ellwood's "Drab-Skirted Muse," <a href="#Page_25">25</a>.<br />
+<br />
+Emerson, Nehemiah, <a href="#Page_66">66</a>.<br />
+<br />
+Emerson, Ralph Waldo, <a href="#Page_65">65</a>, <a href="#Page_99">99</a>.<br />
+<br />
+Emmons, "Ginger-Pop," <a href="#Page_124">124</a>.<br />
+<br />
+Essex Club, <a href="#Page_64">64</a>.<br />
+<br />
+"Eternal Goodness, The," <a href="#Page_63">63</a>, <a href="#Page_107">107</a>.<br />
+<br />
+"Eternity," <a href="#Page_137">137</a>, <a href="#Page_138">138</a>.<br />
+<br />
+"Exiles, The," <a href="#Page_84">84</a>.<br />
+<br />
+<br />
+Fernside Brook, <a href="#Page_9">9</a>, <a href="#Page_11">11</a>, <a href="#Page_12">12</a>, <a href="#Page_16">16</a>, <a href="#Page_17">17</a>.<br />
+<br />
+Ferry, the, <a href="#Page_75">75</a>.<br />
+<br />
+Fields, Annie, <a href="#Page_102">102</a>.<br />
+<br />
+Fields, James T., <a href="#Page_46">46</a>, <a href="#Page_102">102</a>.<br />
+<br />
+Fletcher, Rev. J. C., <a href="#Page_58">58</a>, <a href="#Page_89">89</a>, <a href="#Page_92">92</a>.<br />
+<br />
+Ford, Miss, <a href="#Page_112">112</a>, <a href="#Page_116">116</a>.<br />
+<br />
+"Fountain, The," <a href="#Page_87">87</a>.<br />
+<br />
+Fox, George, <a href="#Page_25">25</a>, <a href="#Page_47">47</a>.<br />
+<br />
+"Fragment, A," <a href="#Page_136">136</a>.<br />
+<br />
+Frankle, Annie W., <a href="#Page_38">38</a>.<br />
+<br />
+Fremont, J. C., <a href="#Page_149">149</a>.<br />
+<br />
+Friend Street, <a href="#Page_58">58</a>.<br />
+<br />
+Friends' meeting-house, <a href="#Page_33">33</a>, <a href="#Page_80">80</a>, <a href="#Page_81">81</a>.<br />
+<br />
+Frietchie, Barbara, <a href="#Page_65">65</a>.<br />
+<br />
+Frinksborough, <a href="#Page_138">138</a>.<br />
+<br />
+<br />
+"Gail Hamilton's Wedding," <a href="#Page_120">120</a>-<a href="#Page_122">122</a>.<br />
+<br />
+Garden at birthplace, <a href="#Page_18">18</a>.<br />
+<br />
+Garden room, Amesbury, <a href="#Page_32">32</a>, <a href="#Page_62">62</a>-<a href="#Page_71">71</a>.<br />
+<br />
+Garrison, William Lloyd, <a href="#Page_37">37</a>, <a href="#Page_76">76</a>, <a href="#Page_103">103</a>, <a href="#Page_104">104</a>.<br />
+<br />
+Garrison's birthplace, <a href="#Page_103">103</a>.<br />
+<br />
+Golden Hill, <a href="#Page_8">8</a>.<br />
+<br />
+Goodspeed, C. E., <a href="#Page_51">51</a> note. <small>(TR: now <a href="#FOOTNOTES">Footnote 3</a>)</small><br />
+<br />
+"Goody" Martin, <a href="#Page_56">56</a>, <a href="#Page_57">57</a>, <a href="#Page_84">84</a>.<br />
+<br />
+Gordon, "Chinese," <a href="#Page_65">65</a>.<br />
+<br />
+Gove, Sarah Abby, <a href="#Page_92">92</a>, <a href="#Page_93">93</a>.<br />
+<br />
+"Grave of Morgan, The," <a href="#Page_142">142</a>, <a href="#Page_143">143</a>.<br />
+<br />
+Green, Ruth, <a href="#Page_29">29</a>.<br />
+<br />
+Greene, Nathaniel, <a href="#Page_102">102</a>.<br />
+<br />
+Greenleaf, Sarah, <a href="#Page_20">20</a>, <a href="#Page_22">22</a>, <a href="#Page_29">29</a>, <a href="#Page_103">103</a>.<br />
+<br />
+Grimké, Angelina, <a href="#Page_119">119</a>.<br />
+<br />
+Group at Sturtevant's, <a href="#Page_113">113</a>.<br />
+<br />
+Groveland, <a href="#Page_3">3</a>.<br />
+<br />
+<br />
+"Hamilton, Gail," <a href="#Page_108">108</a>, <a href="#Page_120">120</a>-<a href="#Page_122">122</a>.<br />
+<br />
+Hampton Beach, <a href="#Page_86">86</a>, <a href="#Page_88">88</a>.<br />
+<br />
+Hampton Falls, <a href="#Page_92">92</a>, <a href="#Page_93">93</a>.<br />
+<br />
+Hampton marshes, <a href="#Page_92">92</a>.<br />
+<br />
+Hampton River, <a href="#Page_88">88</a>.<br />
+<br />
+Haskell, George, <a href="#Page_40">40</a>.<br />
+<br />
+"Haunted Bridge of Country Brook," <a href="#Page_15">15</a>.<br />
+<br />
+Haverhill, <a href="#Page_3">3</a>, <a href="#Page_7">7</a>.<br />
+<br />
+Haverhill Academy, <a href="#Page_6">6</a>, <a href="#Page_129">129</a>.<br />
+<br />
+"Haverhill Gazette," <a href="#Page_24">24</a>, <a href="#Page_48">48</a>, <a href="#Page_136">136</a>, <a href="#Page_143">143</a>, <a href="#Page_152">152</a>.<br />
+<br />
+Hawkswood, <a href="#Page_58">58</a>.<br />
+<br />
+Hay, John, <a href="#Page_75">75</a>.<br />
+<br />
+Higginson, Thomas Wentworth, <a href="#Page_78">78</a>.<br />
+<br />
+Hines, Peter, <a href="#Page_117">117</a>.<br />
+<br />
+Hoar, George F., <a href="#Page_64">64</a>.<br />
+<br />
+Holmes, Oliver Wendell, <a href="#Page_108">108</a>.<br />
+<br />
+"Homecoming of the Bride, The," <a href="#Page_15">15</a>, <a href="#Page_104">104</a>.<br />
+<br />
+How, George C., <a href="#Page_38">38</a>.<br />
+<br />
+"How they climbed Chocorua," <a href="#Page_111">111</a>.<br />
+<br />
+Howe, Julia Ward, <a href="#Page_75">75</a>.<br />
+<br />
+Hume, Isabel, <a href="#Page_116">116</a>.<br />
+<br />
+Huntington, Jacob R., <a href="#Page_84">84</a>, <a href="#Page_122">122</a>.<br />
+<br />
+Hussey, Mercy Evans, <a href="#Page_22">22</a>, <a href="#Page_26">26</a>, <a href="#Page_61">61</a>, <a href="#Page_62">62</a>, <a href="#Page_85">85</a>.<br />
+<br />
+<br />
+Ichneumon, the living, <a href="#Page_138">138</a>.<br />
+<br />
+"In School Days," <a href="#Page_26">26</a>, <a href="#Page_30">30</a>, <a href="#Page_32">32</a>.<br />
+<br />
+Ipswich, <a href="#Page_86">86</a>.<br />
+<br />
+Ireson, Capt. Benjamin, <a href="#Page_72">72</a>.<br />
+<br />
+Isles of Shoals, <a href="#Page_86">86</a>, <a href="#Page_89">89</a>, <a href="#Page_91">91</a>, <a href="#Page_117">117</a>.<br />
+<br />
+"I would not lose that Romance Wild," <a href="#Page_130">130</a>.<br />
+<br />
+<br />
+Jackson, Andrew, <a href="#Page_141">141</a>.<br />
+<br />
+Job's Hill, <a href="#Page_9">9</a>, <a href="#Page_12">12</a>, <a href="#Page_17">17</a>, <a href="#Page_36">36</a>.<br />
+<br />
+Johnson, Caroline, <a href="#Page_101">101</a>.<br />
+<br />
+Johnson, Mary, <a href="#Page_101">101</a>.<br />
+<br />
+"June on the Merrimac," <a href="#Page_58">58</a>.<br />
+<br />
+"Justice and Expediency," <a href="#Page_22">22</a>.<br />
+<br />
+<br />
+Kansas, <a href="#Page_150">150</a>, <a href="#Page_151">151</a>.<br />
+<br />
+Kearsarge, <a href="#Page_86">86</a>.<br />
+<br />
+Kelley, Clarence E., <a href="#Page_38">38</a>.<br />
+<br />
+Kimball's Pond, <a href="#Page_95">95</a>.<br />
+<br />
+Kitchen at birthplace, <a href="#Page_17">17</a>, <a href="#Page_19">19</a>, <a href="#Page_22">21</a>, <a href="#Page_23">23</a><br />
+<br />
+Knox brothers, <a href="#Page_110">110</a>-<a href="#Page_115">115</a>.<br />
+<br />
+<br />
+Ladd, "Squire," <a href="#Page_32">32</a>.<br />
+<br />
+Lake Kenoza, <a href="#Page_8">8</a>, <a href="#Page_10">10</a>.<br />
+<br />
+Lansing, Miss, <a href="#Page_111">111</a>, <a href="#Page_116">116</a>.<br />
+<br />
+Larcom, Lucy, <a href="#Page_111">111</a>, <a href="#Page_114">114</a>, <a href="#Page_116">116</a>.<br />
+<br />
+"Last Walk in Autumn, The," <a href="#Page_56">56</a>.<br />
+<br />
+"Last Will of Man in Bear-Trap, The," <a href="#Page_116">116</a>-<a href="#Page_118">118</a>.<br />
+<br />
+"Laurels, The," <a href="#Page_58">58</a>.<br />
+<br />
+Lee, N. H., <a href="#Page_100">100</a>.<br />
+<span class="pagenum"><a name="Page_159" id="Page_159">[Pg 159]</a></span><br />
+Little Boar's Head, <a href="#Page_86">86</a>.<br />
+<br />
+Livermore, Harriet, <a href="#Page_39">39</a>, <a href="#Page_101">101</a>.<br />
+<br />
+Lloyd, Elizabeth, <a href="#Page_34">34</a>.<br />
+<br />
+Longfellow, Henry W., <a href="#Page_65">65</a>, <a href="#Page_108">108</a>.<br />
+<br />
+Lowell, James Russell, <a href="#Page_108">108</a>.<br />
+<br />
+<br />
+"Mabel Martin," <a href="#Page_56">56</a>, <a href="#Page_84">84</a>.<br />
+<br />
+Macy house, <a href="#Page_84">84</a>.<br />
+<br />
+Macy, Thomas, <a href="#Page_84">84</a>.<br />
+<br />
+"Maids of Attitash, The," <a href="#Page_95">95</a>.<br />
+<br />
+Map of Whittier-Land, <a href="#Page_xii">xii</a>.<br />
+<br />
+Marlboro Hotel, <a href="#Page_102">102</a>.<br />
+<br />
+"Memorial, A," <a href="#Page_98">98</a>.<br />
+<br />
+"Memories," <a href="#Page_66">66</a>.<br />
+<br />
+Menahga, <a href="#Page_46">46</a>.<br />
+<br />
+Merrimac, town, <a href="#Page_3">3</a>, <a href="#Page_44">44</a>, <a href="#Page_82">82</a>.<br />
+<br />
+Merrimac River, <a href="#Page_3">3</a>, <a href="#Page_4">4</a>, <a href="#Page_44">44</a>, <a href="#Page_56">56</a>, <a href="#Page_58">58</a>, <a href="#Page_60">60</a>.<br />
+<br />
+Millvale, <a href="#Page_15">15</a>, <a href="#Page_46">46</a>, <a href="#Page_104">104</a>.<br />
+<br />
+Minot, Harriet (Mrs. Pitman), <a href="#Page_138">138</a>.<br />
+<br />
+"Miriam," <a href="#Page_86">86</a>.<br />
+<br />
+Mitford, Mary Russell, <a href="#Page_75">75</a>.<br />
+<br />
+"Moll Pitcher," <a href="#Page_66">66</a> note <small>(TR: now <a href="#FOOTNOTES">Footnote 4</a>)</small>, <a href="#Page_131">131</a>.<br />
+<br />
+Monadnock, <a href="#Page_33">33</a>, <a href="#Page_86">86</a>.<br />
+<br />
+Morgan, William, <a href="#Page_141">141</a>.<br />
+<br />
+Morrill, Jettie, <a href="#Page_116">116</a>.<br />
+<br />
+Morse, "Goody," <a href="#Page_104">104</a>.<br />
+<br />
+Mother's room, <a href="#Page_22">22</a>, <a href="#Page_23">23</a>.<br />
+<br />
+Moulton house, Hampton, <a href="#Page_92">92</a>.<br />
+<br />
+Moulton's Hill, <a href="#Page_58">58</a>.<br />
+<br />
+Mount Washington, <a href="#Page_86">86</a>.<br />
+<br />
+Mundy Hill, <a href="#Page_84">84</a>, <a href="#Page_87">87</a>.<br />
+<br />
+"My Double," <a href="#Page_123">123</a>-<a href="#Page_125">125</a>.<br />
+<br />
+"My Namesake," <a href="#Page_39">39</a>.<br />
+<br />
+"My Playmate," <a href="#Page_44">44</a>, <a href="#Page_46">46</a>, <a href="#Page_67">67</a>.<br />
+<br />
+<br />
+"Name, A," <a href="#Page_74">74</a>.<br />
+<br />
+"National Era," <a href="#Page_76">76</a>, <a href="#Page_150">150</a>.<br />
+<br />
+Newbury, <a href="#Page_3">3</a>, <a href="#Page_14">14</a>, <a href="#Page_32">32</a>, <a href="#Page_44">44</a>, <a href="#Page_56">56</a>, <a href="#Page_58">58</a>, <a href="#Page_86">86</a>, <a href="#Page_103">103</a>.<br />
+<br />
+Newburyport, <a href="#Page_3">3</a>, <a href="#Page_86">86</a>.<br />
+<br />
+"New England," <a href="#Page_131">131</a>-<a href="#Page_134">134</a>.<br />
+<br />
+"New England Review," <a href="#Page_43">43</a>, <a href="#Page_76">76</a>, <a href="#Page_131">131</a>, <a href="#Page_137">137</a>.<br />
+<br />
+New York "Tribune," <a href="#Page_149">149</a>.<br />
+<br />
+"New Wife and the Old, The," <a href="#Page_92">92</a>.<br />
+<br />
+Niagara Falls, <a href="#Page_141">141</a>.<br />
+<br />
+Nicholson, Elizabeth, <a href="#Page_34">34</a>.<br />
+<br />
+"Northern Lights, The," <a href="#Page_146">146</a>, <a href="#Page_147">147</a>.<br />
+<br />
+Nottingham, N. H., <a href="#Page_96">96</a>.<br />
+<br />
+<br />
+Oak Knoll, Danvers, <a href="#Page_99">99</a>, <a href="#Page_101">101</a>, <a href="#Page_122">122</a>, <a href="#Page_123">123</a>.<br />
+<br />
+Ode for dedication of Academy, <a href="#Page_7">7</a>.<br />
+<br />
+"Old Burying Ground, The," <a href="#Page_51">51</a>.<br />
+<br />
+"Old Oaken Bucket, The," <a href="#Page_147">147</a>.<br />
+<br />
+Old South meeting-house, Newburyport, <a href="#Page_103">103</a>, <a href="#Page_104">104</a>.<br />
+<br />
+"One of the Signers," <a href="#Page_122">122</a>.<br />
+<br />
+Ordway, Alfred A., <a href="#Page_17">17</a>-<a href="#Page_19">19</a>, <a href="#Page_35">35</a>, <a href="#Page_38">38</a>, <a href="#Page_46">46</a>.<br />
+<br />
+Ossipee range, <a href="#Page_86">86</a>.<br />
+<br />
+"Our River," <a href="#Page_58">58</a>.<br />
+<br />
+"Ours," <a href="#Page_79">79</a>, <a href="#Page_80">80</a>.<br />
+<br />
+<br />
+Palmer, Alice Freeman, <a href="#Page_118">118</a>, <a href="#Page_119">119</a>.<br />
+<br />
+Passaconaway, <a href="#Page_86">86</a>.<br />
+<br />
+Pawtuckaway range, <a href="#Page_95">95</a>.<br />
+<br />
+Peaslee house, "Old Garrison," <a href="#Page_46">46</a>, <a href="#Page_47">47</a>, <a href="#Page_55">55</a>.<br />
+<br />
+Peaslee, Joseph, <a href="#Page_47">47</a>.<br />
+<br />
+Peaslee, Mary, <a href="#Page_29">29</a>, <a href="#Page_46">46</a>.<br />
+<br />
+"Pennsylvania Freeman," <a href="#Page_61">61</a>, <a href="#Page_70">70</a>, <a href="#Page_76">76</a>.<br />
+<br />
+Pennsylvania Hall, <a href="#Page_119">119</a>.<br />
+<br />
+Pickard, Elizabeth (Whittier), <a href="#Page_20">20</a>, <a href="#Page_22">22</a>, <a href="#Page_39">39</a>, <a href="#Page_71">71</a>, <a href="#Page_74">74</a>, <a href="#Page_75">75</a>, <a href="#Page_85">85</a>, <a href="#Page_90">90</a>, <a href="#Page_94">94</a>, <a href="#Page_109">109</a>, <a href="#Page_116">116</a>.<br />
+<br />
+Pickard, Greenleaf Whittier, <a href="#Page_74">74</a>, <a href="#Page_94">94</a>.<br />
+<br />
+Pickard, S. T., <a href="#Page_116">116</a>, <a href="#Page_117">117</a>.<br />
+<br />
+Pillsbury, Mary, <a href="#Page_35">35</a>.<br />
+<br />
+Pleasant Valley, <a href="#Page_55">55</a>, <a href="#Page_58">58</a>.<br />
+<br />
+Plum Island, <a href="#Page_86">86</a>.<br />
+<br />
+Plummer, Celeste, <a href="#Page_112">112</a>, <a href="#Page_116">116</a>.<br />
+<br />
+Poems hitherto uncollected:<br />
+<span style="margin-left: 1em;">Ode sung at dedication of Academy, <a href="#Page_7">7</a>;</span><br />
+<span style="margin-left: 1em;">Catalogue of his father's library, <a href="#Page_22">22</a>;</span><br />
+<span style="margin-left: 1em;">Lines in album, <a href="#Page_30">30</a>;</span><br />
+<span style="margin-left: 1em;">"A Retrospect," <a href="#Page_35">35</a>;</span><br />
+<span style="margin-left: 1em;">"The Plaint of the Merrimac," <a href="#Page_59">59</a>, <a href="#Page_60">60</a>;</span><br />
+<span style="margin-left: 1em;">"The Division," <a href="#Page_109">109</a>;</span><br />
+<span style="margin-left: 1em;">"How they climbed Chocorua," <a href="#Page_111">111</a>-<a href="#Page_114">114</a>;</span><br />
+<span style="margin-left: 1em;">"To the Unknown and Absent Author of 'How they climbed Chocorua,'" <a href="#Page_114">114</a>, <a href="#Page_115">115</a>;</span><br />
+<span style="margin-left: 1em;">"Last Will of Man in Bear-Trap," <a href="#Page_116">116</a>-<a href="#Page_118">118</a>;</span><br />
+<span style="margin-left: 1em;">Weld epithalamium, <a href="#Page_119">119</a>, <a href="#Page_120">120</a>;</span><br />
+<span style="margin-left: 1em;">"Gail Hamilton's Wedding," <a href="#Page_120">120</a>-<a href="#Page_122">122</a>;</span><br />
+<span style="margin-left: 1em;">"My Double," <a href="#Page_123">123</a>-<a href="#Page_125">125</a>;</span><br />
+<span style="margin-left: 1em;">"I would not lose that Romance Wild," <a href="#Page_130">130</a>;</span><br />
+<span style="margin-left: 1em;">"New England," <a href="#Page_131">131</a>-<a href="#Page_133">133</a>;</span><br />
+<span style="margin-left: 1em;">"That Vow of Thine," <a href="#Page_133">133</a>, <a href="#Page_134">134</a>;</span><br />
+<span style="margin-left: 1em;">"The Spectre," <a href="#Page_135">135</a>, <a href="#Page_136">136</a>;</span><br />
+<span style="margin-left: 1em;">"A Fragment," <a href="#Page_136">136</a>, <a href="#Page_137">137</a>;</span><br />
+<span style="margin-left: 1em;">"Eternity," <a href="#Page_137">137</a>, <a href="#Page_138">138</a>;</span><br />
+<span style="margin-left: 1em;">"Dead Ichneumon," <a href="#Page_139">139</a>-<a href="#Page_141">141</a>;</span><br />
+<span style="margin-left: 1em;">"Grave of Morgan," <a href="#Page_142">142</a>, <a href="#Page_143">143</a>;</span><br />
+<span style="margin-left: 1em;">"The Thunder Spirit," <a href="#Page_143">143</a>;</span><br />
+<span style="margin-left: 1em;">"Worship of Nature," <a href="#Page_144">144</a>, <a href="#Page_145">145</a>;</span><br />
+<span style="margin-left: 1em;">"Northern Lights," <a href="#Page_146">146</a>, <a href="#Page_147">147</a>;</span><br />
+<span style="margin-left: 1em;">"The Willow," <a href="#Page_148">148</a>, <a href="#Page_149">149</a>;</span><br />
+<span style="margin-left: 1em;">"Uses of Sorrow," <a href="#Page_149">149</a>;</span><br />
+<span style="margin-left: 1em;">"We're Free," <a href="#Page_150">150</a>, <a href="#Page_151">151</a>;</span><br />
+<span style="margin-left: 1em;">"Fremont's Ride," <a href="#Page_151">151</a>, <a href="#Page_152">152</a>;</span><br />
+<span style="margin-left: 1em;">"The Times," <a href="#Page_152">152</a>, <a href="#Page_153">153</a>;</span><br />
+<span style="margin-left: 1em;">"Song of Praises," <a href="#Page_153">153</a>, <a href="#Page_154">154</a>.</span><br />
+<br />
+Po Hill, <a href="#Page_33">33</a>, <a href="#Page_57">57</a>, <a href="#Page_84">84</a>, <a href="#Page_87">87</a>.<br />
+<br />
+Pond Hills, <a href="#Page_44">44</a>.<br />
+<br />
+Porter, Dudley, <a href="#Page_38">38</a>.<br />
+<br />
+Porter, J. S., <a href="#Page_25">25</a>, <a href="#Page_71">71</a>.<br />
+<br />
+Portland, <a href="#Page_20">20</a>, <a href="#Page_22">22</a>, <a href="#Page_118">118</a>.<br />
+<br />
+Powow River, <a href="#Page_56">56</a>, <a href="#Page_57">57</a>, <a href="#Page_60">60</a>, <a href="#Page_79">79</a>, <a href="#Page_83">83</a>, <a href="#Page_84">84</a>, <a href="#Page_86">86</a>-<a href="#Page_87">87</a>, <a href="#Page_88">88</a>.<br />
+<br />
+"Preacher, The," <a href="#Page_84">84</a>.<br />
+<br />
+"Pressed Gentian, The," <a href="#Page_64">64</a>.<br />
+<br />
+Purchase of birthplace, <a href="#Page_38">38</a>.<br />
+<br />
+<br />
+Ramoth Hill, <a href="#Page_46">46</a>, <a href="#Page_67">67</a>.<br />
+<br />
+"Relic, The," <a href="#Page_64">64</a>.<br />
+<br />
+"Revisited," <a href="#Page_58">58</a>.<br />
+<br />
+Reunion of schoolmates, <a href="#Page_70">70</a>.<br />
+<br />
+River Path, picture of, <a href="#Page_5">5</a>.<br />
+<br />
+"River Path, The," <a href="#Page_49">49</a>, <a href="#Page_55">55</a>, <a href="#Page_56">56</a>.<br />
+<br />
+River valley, near grave of Countess, <a href="#Page_49">49</a>.<br />
+<br />
+Rocks Bridge, <a href="#Page_48">48</a>.<br />
+<br />
+Rocks Village, <a href="#Page_32">32</a>, <a href="#Page_44">44</a>, <a href="#Page_46">46</a>, <a href="#Page_51">51</a>, <a href="#Page_55">55</a>.<br />
+<br />
+Rocky Hill, <a href="#Page_84">84</a>.<br />
+<br />
+Rocky Hill meeting-house, <a href="#Page_87">87</a>, <a href="#Page_89">89</a>.<br />
+<br />
+Rogers, John, <a href="#Page_125">125</a>.<br />
+<br />
+Rowley, <a href="#Page_86">86</a>.<br />
+<br />
+<br />
+Salisbury, <a href="#Page_3">3</a>, <a href="#Page_14">14</a>.<br />
+<br />
+Salisbury Beach, <a href="#Page_86">86</a>, <a href="#Page_88">88</a>, <a href="#Page_89">89</a>.<br />
+<br />
+Salisbury Point, <a href="#Page_77">77</a>.<br />
+<br />
+Saltonstall mansion, <a href="#Page_45">45</a>.<br />
+<br />
+Sanders, Susan B., <a href="#Page_38">38</a>.<br />
+<span class="pagenum"><a name="Page_160" id="Page_160">[Pg 160]</a></span><br />
+"Sea Dream, A," <a href="#Page_69">69</a>.<br />
+<br />
+Scene on Country Brook, <a href="#Page_43">43</a>.<br />
+<br />
+Sewel's "Painful History," <a href="#Page_25">25</a>.<br />
+<br />
+Silver Hill, <a href="#Page_8">8</a>, <a href="#Page_10">10</a>.<br />
+<br />
+Smith, Joseph Lindon, <a href="#Page_26">26</a>.<br />
+<br />
+Smith, Mary Emerson, <a href="#Page_66">66</a>, <a href="#Page_67">67</a>.<br />
+<br />
+Smith, S. F., <a href="#Page_71">71</a>, <a href="#Page_72">72</a>.<br />
+<br />
+Smith, Mrs. S. F., <a href="#Page_71">71</a>, <a href="#Page_72">72</a>.<br />
+<br />
+"Snow-Bound," <a href="#Page_12">12</a>, <a href="#Page_20">20</a>, <a href="#Page_24">24</a>, <a href="#Page_39">39</a>, <a href="#Page_48">48</a>, <a href="#Page_63">63</a>, <a href="#Page_74">74</a>.<br />
+<br />
+Snow-Bound barn, <a href="#Page_12">12</a>.<br />
+<br />
+Snow-Bound kitchen, <a href="#Page_12">12</a>, <a href="#Page_17">17</a>-<a href="#Page_52">52</a>.<br />
+<br />
+Somersworth, N. H., <a href="#Page_22">22</a>.<br />
+<br />
+"Song of Praises, A," <a href="#Page_153">153</a>, <a href="#Page_154">154</a>.<br />
+<br />
+Sparhawk, Dr. Thomas, <a href="#Page_76">76</a>.<br />
+<br />
+"Spectre, The," <a href="#Page_135">135</a>, <a href="#Page_136">136</a>.<br />
+<br />
+Spofford, Harriet Prescott, <a href="#Page_5">5</a>, <a href="#Page_59">59</a>.<br />
+<br />
+Stanton, Edwin M., <a href="#Page_84">84</a>.<br />
+<br />
+Stowe, Harriet Beecher, <a href="#Page_75">75</a>.<br />
+<br />
+Sturge, Joseph, <a href="#Page_61">61</a>, <a href="#Page_63">63</a>-<a href="#Page_65">65</a>.<br />
+<br />
+Sturtevant, Miss, <a href="#Page_112">112</a>.<br />
+<br />
+Sturtevant, Mrs., <a href="#Page_117">117</a>.<br />
+<br />
+Sturtevant's, <a href="#Page_110">110</a>, <a href="#Page_113">113</a>.<br />
+<br />
+Sumner, Charles, <a href="#Page_108">108</a>.<br />
+<br />
+Sycamores, the, <a href="#Page_8">8</a>, <a href="#Page_45">45</a>.<br />
+<br />
+<br />
+Tallant, Hugh, <a href="#Page_45">45</a>.<br />
+<br />
+Tappan, Lewis, <a href="#Page_62">62</a>.<br />
+<br />
+Taylor, Bayard, <a href="#Page_65">65</a>.<br />
+<br />
+Taylor, Henry, <a href="#Page_98">98</a>, <a href="#Page_99">99</a>.<br />
+<br />
+Taylor, Marie, <a href="#Page_66">66</a>.<br />
+<br />
+"Telling the Bees," <a href="#Page_17">17</a>.<br />
+<br />
+"Tent on the Beach, The," <a href="#Page_74">74</a>, <a href="#Page_87">87</a>, <a href="#Page_90">90</a>, <a href="#Page_91">91</a>.<br />
+<br />
+"That Vow of Thine," <a href="#Page_133">133</a>, <a href="#Page_134">134</a>.<br />
+<br />
+Thaxter, Celia, <a href="#Page_92">92</a>.<br />
+<br />
+Thayer, Abijah W., <a href="#Page_24">24</a>.<br />
+<br />
+Thayer, Sarah S., <a href="#Page_24">24</a>.<br />
+<br />
+Thomas, Mary Emerson (Smith), <a href="#Page_66">66</a>, <a href="#Page_67">67</a>.<br />
+<br />
+Thoreau, Henry D., <a href="#Page_5">5</a>.<br />
+<br />
+Thornton, Sir Edward, <a href="#Page_58">58</a>.<br />
+<br />
+"Times, The," <a href="#Page_152">152</a>, <a href="#Page_153">153</a>.<br />
+<br />
+"To My Old Schoolmaster," <a href="#Page_30">30</a>, <a href="#Page_104">104</a>.<br />
+<br />
+Tracy, Mrs., <a href="#Page_49">49</a>.<br />
+<br />
+Trowbridge, J. T., <a href="#Page_28">28</a>, <a href="#Page_40">40</a>.<br />
+<br />
+Turner, Judge, <a href="#Page_77">77</a>.<br />
+<br />
+<br />
+Union Cemetery, <a href="#Page_29">29</a>, <a href="#Page_57">57</a>, <a href="#Page_84">84</a>, <a href="#Page_85">85</a>.<br />
+<br />
+"Unity," <a href="#Page_154">154</a>.<br />
+<br />
+"Up and Down the Merrimac," <a href="#Page_4">4</a>.<br />
+<br />
+"Uses of Sorrow, The," <a href="#Page_149">149</a>.<br />
+<br />
+<br />
+Wachusett, <a href="#Page_33">33</a>, <a href="#Page_86">86</a>.<br />
+<br />
+Wade, Mrs., <a href="#Page_113">113</a>.<br />
+<br />
+Wakeman, Rev. Mr., <a href="#Page_94">94</a>.<br />
+<br />
+Ward, Elizabeth Phelps, <a href="#Page_102">102</a>.<br />
+<br />
+Washington, George, <a href="#Page_45">45</a>, <a href="#Page_60">60</a>.<br />
+<br />
+Weld, Dr. Elias, <a href="#Page_48">48</a>-<a href="#Page_50">50</a>, <a href="#Page_66">66</a>.<br />
+<br />
+Weld, Theodore D., <a href="#Page_51">51</a>, <a href="#Page_119">119</a>.<br />
+<br />
+Wendell, Ann, <a href="#Page_141">141</a>.<br />
+<br />
+"We 're Free," <a href="#Page_150">150</a>, <a href="#Page_151">151</a>.<br />
+<br />
+West, Mary S., <a href="#Page_46">46</a>.<br />
+<br />
+West Ossipee, N. H., <a href="#Page_110">110</a>, <a href="#Page_111">111</a>.<br />
+<br />
+Whiteface, <a href="#Page_86">86</a>.<br />
+<br />
+Whitefield church, <a href="#Page_103">103</a>.<br />
+<br />
+Whitefield, George, <a href="#Page_103">103</a>, <a href="#Page_104">104</a>.<br />
+<br />
+Whittier, Abigail, <a href="#Page_22">22</a>-<a href="#Page_24">24</a>, <a href="#Page_26">26</a>, <a href="#Page_74">74</a>, <a href="#Page_78">78</a>.<br />
+<br />
+Whittier, Elizabeth H., <a href="#Page_28">28</a>, <a href="#Page_34">34</a>, <a href="#Page_61">61</a>, <a href="#Page_62">62</a>, <a href="#Page_74">74</a>, <a href="#Page_75">75</a>, <a href="#Page_78">78</a>, <a href="#Page_85">85</a>, <a href="#Page_90">90</a>-<a href="#Page_92">92</a>, <a href="#Page_150">150</a>.<br />
+<br />
+Whittier Hill, <a href="#Page_14">14</a>, <a href="#Page_84">84</a>.<br />
+<br />
+Whittier home, Amesbury, <a href="#Page_61">61</a>-<a href="#Page_79">79</a>, <a href="#Page_86">86</a>.<br />
+<br />
+Whittier, John, <a href="#Page_12">12</a>, <a href="#Page_20">20</a>, <a href="#Page_24">24</a>, <a href="#Page_85">85</a>.<br />
+<br />
+Whittier, John Greenleaf,<br />
+<span style="margin-left: 1em;">reviews Boyd's "Up and Down the Merrimac," <a href="#Page_4">4</a>;</span><br />
+<span style="margin-left: 1em;">interest in psychical research, <a href="#Page_23">23</a>;</span><br />
+<span style="margin-left: 1em;">catalogues his father's library, <a href="#Page_24">24</a>, <a href="#Page_25">25</a>; his</span><br />
+<span style="margin-left: 1em;">early pessimism, <a href="#Page_42">42</a>-<a href="#Page_44">44</a>, <a href="#Page_129">129</a>;</span><br />
+<span style="margin-left: 1em;">letter to Dr. Weld, <a href="#Page_50">50</a>, <a href="#Page_51">51</a>;</span><br />
+<span style="margin-left: 1em;">carrier's address quoted, <a href="#Page_51">51</a> note; <small>(TR: now <a href="#FOOTNOTES">Footnote 3</a>)</small></span><br />
+<span style="margin-left: 1em;">removal to Amesbury, <a href="#Page_60">60</a>, <a href="#Page_61">61</a>;</span><br />
+<span style="margin-left: 1em;">tribute of Essex Club, <a href="#Page_64">64</a>;</span><br />
+<span style="margin-left: 1em;">friendship for schoolmates, <a href="#Page_66">66</a>-<a href="#Page_72">72</a>;</span><br />
+<span style="margin-left: 1em;">reason why never married, <a href="#Page_68">68</a>;</span><br />
+<span style="margin-left: 1em;">portrait at age of twenty-two, <a href="#Page_69">69</a>;</span><br />
+<span style="margin-left: 1em;">prostrated by lightning, <a href="#Page_73">73</a>;</span><br />
+<span style="margin-left: 1em;">person referred to in "Memories" and "My Playmate," <a href="#Page_67">67</a>;</span><br />
+<span style="margin-left: 1em;">receives bullet wound, <a href="#Page_76">76</a>;</span><br />
+<span style="margin-left: 1em;">at town meeting, <a href="#Page_77">77</a>;</span><br />
+<span style="margin-left: 1em;">home life sketched by Higginson, <a href="#Page_78">78</a>;</span><br />
+<span style="margin-left: 1em;">plans Friends' meeting-house, <a href="#Page_80">80</a>;</span><br />
+<span style="margin-left: 1em;">preferred silent meetings, <a href="#Page_81">81</a>, <a href="#Page_82">82</a>;</span><br />
+<span style="margin-left: 1em;">interest in psychical research, <a href="#Page_83">83</a>;</span><br />
+<span style="margin-left: 1em;">his cemetery lot, <a href="#Page_85">85</a>;</span><br />
+<span style="margin-left: 1em;">care for Amesbury public library, <a href="#Page_96">96</a>;</span><br />
+<span style="margin-left: 1em;">portrait at age of forty-nine, <a href="#Page_97">97</a>;</span><br />
+<span style="margin-left: 1em;">his Boston homes, <a href="#Page_102">102</a>;</span><br />
+<span style="margin-left: 1em;">letter to Newbury celebration, <a href="#Page_103">103</a>, <a href="#Page_104">104</a>;</span><br />
+<span style="margin-left: 1em;">radical change in his spirit, <a href="#Page_129">129</a>;</span><br />
+<span style="margin-left: 1em;">peculiarity of his laugh, <a href="#Page_108">108</a>.</span><br />
+<br />
+Whittier, Joseph, <a href="#Page_20">20</a>, <a href="#Page_29">29</a>, <a href="#Page_47">47</a>.<br />
+<br />
+Whittier, Joseph, 2d, <a href="#Page_29">29</a>.<br />
+<br />
+Whittier, Mary, <a href="#Page_26">26</a>, <a href="#Page_29">29</a>.<br />
+<br />
+Whittier, Matthew Franklin, <a href="#Page_26">26</a>, <a href="#Page_37">37</a>, <a href="#Page_65">65</a>, <a href="#Page_74">74</a>, <a href="#Page_85">85</a>, <a href="#Page_100">100</a>.<br />
+<br />
+Whittier mill, <a href="#Page_18">18</a>.<br />
+<br />
+Whittier, Moses, <a href="#Page_12">12</a>, <a href="#Page_20">20</a>, <a href="#Page_75">75</a>, <a href="#Page_85">85</a>.<br />
+<br />
+Whittier, Obadiah, <a href="#Page_75">75</a>.<br />
+<br />
+Whittier, Thomas, <a href="#Page_14">14</a>, <a href="#Page_15">15</a>, <a href="#Page_29">29</a>, <a href="#Page_46">46</a>.<br />
+<br />
+"Willow, The," <a href="#Page_148">148</a>, <a href="#Page_149">149</a>.<br />
+<br />
+Winthrop Hotel, <a href="#Page_102">102</a>.<br />
+<br />
+Winthrop, Robert C., <a href="#Page_64">64</a>.<br />
+<br />
+"Witch's Daughter, The," <a href="#Page_56">56</a>.<br />
+<br />
+"Wood Giant, The," <a href="#Page_99">99</a>, <a href="#Page_100">100</a>.<br />
+<br />
+Woodman, Mrs. Abby, <a href="#Page_101">101</a>.<br />
+<br />
+"Worship of Nature, The," <a href="#Page_144">144</a>, <a href="#Page_145">145</a>.<br />
+<br />
+"Wreck of Rivermouth, The," <a href="#Page_88">88</a>.<br />
+</p>
+
+
+
+<hr style="width: 65%;" />
+<h2>A LIST OF THE WORKS<br /><br />
+<small>OF</small><br /><br />
+<span class="serif">John Greenleaf Whittier</span></h2>
+
+
+
+<hr style="width: 65%;" />
+<div class="figcenter" style="width: 600px;">
+<img src="images/image164.png" width="600" height="58" alt="" title="" />
+</div>
+
+<h2>
+Writings of<br /><br />
+JOHN GREENLEAF WHITTIER<br />
+</h2>
+
+<p class="center"><small><i>No edition of the Poetical and Prose Writings of John
+Greenleaf Whittier is complete and authorized which does
+not bear the imprint of Houghton Mifflin Company.</i></small></p>
+
+
+<h3>COMPLETE WORKS</h3>
+
+<p class="center"><i>Riverside Edition.</i> In 7 volumes.</p>
+
+
+<h4><i>POETRY</i></h4>
+
+<p>1. Narrative and Legendary Poems.</p>
+
+<p>2. Poems of Nature; Poems Subjective and Reminiscent;
+Religious Poems.</p>
+
+<p>3. Anti-Slavery; Songs of Labor and Reform.</p>
+
+<p>4. Personal Poems; Occasional Poems; Tent on
+the Beach; Appendix.</p>
+
+
+<h4><i>PROSE</i></h4>
+
+<p>1. Margaret Smith's Journal; Tales and Sketches.</p>
+
+<p>2. Old Portraits and Modern Sketches; Personal
+Sketches and Tributes; Historical Papers.</p>
+
+<p>3. The Conflict with Slavery; Politics and Reform;
+The Inner Life; Criticism.</p>
+
+<p class="center"><small>Each volume, crown 8vo, gilt top; the set, $10.50. With
+"Life of Whittier" (2 vols.) by <span class="smcap">Samuel T. Pickard</span>,
+9 vols., $14.50.</small></p>
+
+
+<h3>PROSE WORKS</h3>
+
+<p><i>Riverside Edition.</i> With Notes by the Author, and etched
+Portrait. 3 vols. crown 8vo, gilt top, $4.50.</p>
+
+
+<h3>POEMS</h3>
+
+<p><i>Riverside Edition.</i> With Portraits, Notes, etc. 4 vols.,
+crown 8vo, gilt top, $6.00.</p>
+
+<p><i>Handy-Volume Edition.</i> With Portraits, and a View of
+Whittier's Oak Knoll Home. 4 vols., 16mo, gilt top,
+in cloth box, $4.00. Bound in full, flexible leather,
+$10.00.</p>
+
+<p><i>Cambridge Edition.</i> With a Biographical Sketch, Notes,
+Index to Titles and First Lines, a Portrait, and an
+engraving of Whittier's Amesbury Home. Large
+crown 8vo, gilt top, $2.00.</p>
+
+<p><i>Library Edition.</i> With Portrait and 8 full-page Photogravures.
+8vo, gilt top, $2.50.</p>
+
+<p><i>Household Edition.</i> With Portrait and Illustrations.
+Crown 8vo, $1.50.</p>
+
+<p><i>Cabinet Edition.</i> From new plates, with numbered lines,
+and Portrait. 16mo, gilt top, $1.00.</p>
+
+
+<h4><i>SEPARATE POEMS</i></h4>
+
+<p><b>Snow-Bound.</b> A Winter Idyl. <i>Holiday Edition.</i> With
+eight Photogravures and Portrait. 16mo, gilt top,
+$1.50.</p>
+
+<p><b>The Tent on the Beach.</b> <i>Holiday Edition.</i> With rubricated
+Initials and 12 full-page Photogravure Illustrations
+by <span class="smcap">Charles H. Woodbury</span> and <span class="smcap">Marcia O.
+Woodbury</span>. 12mo, gilt top, $1.50.</p>
+
+<p><b>At Sundown.</b> With Portrait and 8 Photogravures.
+16mo, gilt top, $1.50.</p>
+
+<p><b>Legends and Lyrics.</b> 16mo, gilt top, 75 cents.</p>
+
+
+<h3>COMPILATIONS</h3>
+
+<p><b>Birthday Book.</b> With Portrait and 12 Illustrations.
+18mo, $1.00.</p>
+
+<p><b>Calendar Book.</b> 32mo, parchment-paper, 25 cents.</p>
+
+<p><b>Year Book.</b> With Portrait. 18mo, $1.00.</p>
+
+<p><b>Text and Verse.</b> For Every Day in the Year. Scripture
+Passages and Parallel Selections from <span class="smcap">Whittier's</span>
+Writings. 32mo, 75 cents.</p>
+
+
+<h3>EDITED BY MR. WHITTIER</h3>
+
+<p><b>Songs of Three Centuries.</b> <i>Library Edition.</i> With
+40 full-page Illustrations. 8vo, gilt top, $2.50.</p>
+
+<p><i>Household Edition.</i> Much enlarged. Crown 8vo, $1.50.</p>
+
+<p><b>Child-Life.</b> A Collection of Poems for and about
+Children. <i>New Edition.</i> Finely Illustrated. 4to,
+$1.50.</p>
+
+<p><b>Child-Life in Prose.</b> A Volume of Stories, Fancies,
+and Memories of Child-Life. Finely Illustrated.
+Crown 8vo, gilt top, $2.00.</p>
+
+
+<p class="center"><small>Many of the above editions may be had in leather
+bindings of various styles.</small></p>
+
+<p class="center"><big>HOUGHTON MIFFLIN COMPANY</big><br />
+
+4 Park Street, Boston.&nbsp;&nbsp;&nbsp;&nbsp; 85 Fifth Ave., New York</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/image166.png" width="600" height="58" alt="" title="" />
+</div>
+
+
+
+
+<hr style="width: 65%;" />
+
+<h3>Transcriber's Notes</h3>
+
+
+<p>Contents: Added listing for Footnotes.</p>
+
+<p>Some illustrations have been moved to avoid breaking up poems and
+paragraphs of text. The List of Illustrations displays the original
+page numbers, but links to the images.</p>
+
+<p>Spaced contractions have been retained from the original book.</p>
+
+<p>Omitted lines of poetry are indicated by a row of 5 dots.</p>
+
+<p>Index: Corrected page references for:<br />
+<span style="margin-left: 2em;">Hussey, Mercy Evans, from 21 to 22.</span><br />
+<span style="margin-left: 2em;">Whittier, John Greenleaf, portrait at age of forty-nine, from 95 to 97.</span><br />
+</p>
+
+
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of Whittier-land, by Samuel T.  Pickard
+
+*** END OF THIS PROJECT GUTENBERG EBOOK WHITTIER-LAND ***
+
+***** This file should be named 29754-h.htm or 29754-h.zip *****
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+file was produced from images generously made available
+by The Internet Archive/American Libraries.)
+
+
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+will be renamed.
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+one owns a United States copyright in these works, so the Foundation
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+</body>
+</html>
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+The Project Gutenberg EBook of Whittier-land, by Samuel T.  Pickard
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Whittier-land
+       A Handbook of North Essex
+
+Author: Samuel T.  Pickard
+
+Release Date: August 22, 2009 [EBook #29754]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK WHITTIER-LAND ***
+
+
+
+
+Produced by K. Nordquist, Diane Monico, and the Online
+Distributed Proofreading Team at http://www.pgdp.net (This
+file was produced from images generously made available
+by The Internet Archive/American Libraries.)
+
+
+
+
+
+
+
+
+
+WHITTIER-LAND
+
+_SAMUEL T. PICKARD_
+
+[Illustration]
+
+
+
+
+By Samuel T. Pickard
+
+WHITTIER-LAND. Illustrated. 12mo, $1.00 _net_. Postage 9 cents.
+
+LIFE AND LETTERS OF JOHN GREENLEAF WHITTIER. With Portraits and other
+Illustrations. 2 vols. crown 8vo, gilt top, $4.00.
+
+_One-Volume Edition_. Illustrated. Crown 8vo, $2.50.
+
+HOUGHTON MIFFLIN COMPANY
+BOSTON AND NEW YORK
+
+
+
+
+WHITTIER-LAND
+
+
+[Illustration: JOHN GREENLEAF WHITTIER
+
+From an ambrotype taken about 1857]
+
+
+
+
+WHITTIER-LAND
+
+A Handbook of North Essex
+
+CONTAINING MANY ANECDOTES OF AND POEMS
+BY JOHN GREENLEAF WHITTIER
+NEVER BEFORE COLLECTED
+
+BY
+
+SAMUEL T. PICKARD
+
+AUTHOR OF "LIFE AND LETTERS OF JOHN GREENLEAF WHITTIER"
+
+_ILLUSTRATED WITH MAP AND ENGRAVINGS_
+
+[Illustration: The Riverside Press]
+
+BOSTON AND NEW YORK
+HOUGHTON MIFFLIN COMPANY
+The Riverside Press Cambridge
+
+
+
+
+COPYRIGHT 1904 BY SAMUEL T. PICKARD
+
+ALL RIGHTS RESERVED
+
+_Published April 1904_
+
+EIGHTH IMPRESSION
+
+
+
+
+PREFACE
+
+
+This volume is designed to meet a call from tourists who are visiting
+the Whittier shrines at Haverhill and Amesbury in numbers that are
+increasing year by year. Besides describing the ancestral homestead and
+its surroundings, and the home at Amesbury, an attempt is made to
+answer such questions as naturally arise in regard to the localities
+mentioned by Whittier in his ballads of the region. Many anecdotes of
+the poet and several poems by him are now first published. It is with
+some hesitancy that I have ventured to add a chapter upon a phase of
+his character that has never been adequately presented: I refer to his
+keen sense of humor. It will be understood that none of the impromptu
+verses I have given to illustrate his playful moods were intended by
+him to be seen outside a small circle of friends and neighbors. This
+playfulness, however, was so much a part of his character from boyhood
+to old age that I think it deserves some record such as is here given.
+
+For those who are interested to inquire to whom refer passages in such
+poems as "Memories," "My Playmate," and "A Sea Dream," I now feel at
+liberty to give such information as could not properly be given at the
+time when I undertook the biography of the poet.
+
+If any profit shall be derived from the sale of this book, it will be
+devoted to the preservation and care of the homes here described, which
+will ever be open to such visitors as love the memory of Whittier.
+
+                        S. T. P.
+
+WHITTIER HOME, AMESBURY, MASS.,
+    March, 1904.
+
+
+
+
+CONTENTS
+
+
+                                        PAGE
+
+I.   Haverhill                            1
+
+II.  Amesbury                            53
+
+III. Whittier's Sense of Humor          105
+
+IV.  Whittier's Uncollected Poems       127
+
+     Footnotes                          154
+
+     Index                              155
+
+
+
+
+LIST OF ILLUSTRATIONS
+
+
+JOHN GREENLEAF WHITTIER                                 _Frontispiece_
+From an Ambrotype taken about 1857.
+
+MAP OF WHITTIER-LAND                                               xii
+
+WHITTIER'S BIRTHPLACE                                                2
+From a photograph by Alfred A. Ordway.
+
+RIVER PATH, NEAR HAVERHILL                                           5
+From a photograph by Ordway.
+
+HAVERHILL ACADEMY                                                    6
+From a photograph by G. W. W. Bartlett.
+
+MAIN STREET, HAVERHILL                                               8
+From a photograph by Ordway.
+
+BIRTHPLACE IN WINTER                                                 9
+From a photograph by Ordway.
+
+KENOZA LAKE                                                         10
+From a photograph by Ordway.
+
+FERNSIDE BROOK, THE STEPPING-STONES                                 11
+From a photograph by Ordway.
+
+THE BIRTHPLACE, FROM THE ROAD                                       13
+From a photograph by Ordway.
+
+"THE HAUNTED BRIDGE OF COUNTRY BROOK"                               15
+From a photograph by W. L. Bickum.
+
+GARDEN AT BIRTHPLACE                                                18
+From a photograph by W. L. Bickum.
+
+SNOW-BOUND KITCHEN, EASTERN END                                     21
+From a photograph by Ordway.
+
+SNOW-BOUND KITCHEN, WESTERN END                                     23
+From a photograph by Ordway.
+
+THE WHITTIER ELM                                                    29
+
+JOSHUA COFFIN, WHITTIER'S FIRST SCHOOLMASTER                        31
+
+SCENE OF "IN SCHOOL DAYS"                                           33
+From a pencil sketch by W. L. Bickum.
+
+HARRIET LIVERMORE, "HALF-WELCOME GUEST"                             41
+
+SCENE ON COUNTRY BROOK                                              43
+From a photograph by Ordway.
+
+THE SYCAMORES                                                       45
+From a photograph by Ordway.
+
+OLD GARRISON HOUSE (PEASLEE HOUSE)                                  47
+
+ROCKS VILLAGE AND BRIDGE                                            48
+From a photograph by Ordway.
+
+RIVER VALLEY, NEAR GRAVE OF COUNTESS                                49
+From a photograph by Ordway.
+
+DR. ELIAS WELD, THE "WISE OLD PHYSICIAN" OF SNOW-BOUND,
+AT THE AGE OF NINETY                                                50
+
+CURSON'S MILL, ARTICHOKE RIVER                                      57
+From a photograph by Ordway.
+
+DEER ISLAND AND CHAIN BRIDGE, HOME OF MRS. SPOFFORD                 59
+
+THE WHITTIER HOME, AMESBURY                                         61
+From a photograph by Mrs. P. A. Perry.
+
+JOSEPH STURGE, WHITTIER'S ENGLISH BENEFACTOR                        63
+
+"GARDEN ROOM" AMESBURY HOME                                         65
+From a photograph by C. W. Briggs.
+
+MRS. THOMAS, TO WHOM "MEMORIES" WAS ADDRESSED                       67
+
+EVELINA BRAY, AT THE AGE OF SEVENTEEN                               68
+From a miniature by J. S. Porter.
+
+WHITTIER, AT THE AGE OF TWENTY-TWO. His earliest portrait           69
+From a miniature by J. S. Porter.
+
+EVELINA BRAY DOWNEY, AT THE AGE OF EIGHTY                           71
+
+ELIZABETH WHITTIER PICKARD                                          75
+From a portrait by Kittell.
+
+SCENE IN GARDEN, AT WHITTIER'S FUNERAL                              76
+
+THE FERRY, SALISBURY POINT, MOUTH OF POWOW                          77
+From a photograph by Miss Woodman.
+
+POWOW RIVER AND PO HILL                                             79
+From a photograph by Miss Woodman.
+
+FRIENDS' MEETING-HOUSE AT AMESBURY                                  80
+From a photograph by Mrs. P. A. Perry.
+
+INTERIOR OF FRIENDS' MEETING-HOUSE                                  81
+From a photograph by G. W. W. Bartlett.
+
+CAPTAIN'S WELL                                                      83
+From a photograph by G. W. W. Bartlett.
+
+WHITTIER LOT, UNION CEMETERY, AMESBURY                              85
+From a photograph by W. R. Merryman.
+
+THE FOUNTAIN ON MUNDY HILL                                          87
+
+ROCKY HILL CHURCH                                                   88
+From a photograph by Miss Woodman.
+
+INTERIOR OF ROCKY HILL CHURCH                                       89
+From a photograph by Miss Woodman.
+
+SCENE OF "THE WRECK OF RIVERMOUTH"                                  90
+
+SCENE OF "THE TENT ON THE BEACH"                                    91
+
+HAMPTON RIVER MARSHES, AS SEEN FROM WHITTIER'S CHAMBER              92
+From a photograph by Greenleaf Whittier Pickard.
+
+HOUSE OF MISS GOVE, HAMPTON FALLS, WHITTIER ON THE BALCONY          93
+From a photograph taken a few days before the poet's death,
+by Greenleaf Whittier Pickard.
+
+CHAMBER IN WHICH WHITTIER DIED                                      94
+
+AMESBURY PUBLIC LIBRARY                                             95
+From a photograph by Gilman P. Smith.
+
+WHITTIER, AT THE AGE OF FORTY-NINE                                  97
+From a daguerreotype by Thomas E. Boutelle.
+
+THE WOOD GIANT, AT STURTEVANT'S, CENTRE HARBOR                      99
+
+THE CARTLAND HOUSE, NEWBURYPORT                                    101
+
+WHITEFIELD CHURCH AND BIRTHPLACE OF GARRISON                       103
+
+BEARCAMP HOUSE, WEST OSSIPEE, N. H.                                110
+
+GROUP OF FRIENDS AT STURTEVANT'S, CENTRE HARBOR, WITH WHITTIER     113
+
+JOSIAH BARTLETT STATUE, HUNTINGTON SQUARE, AMESBURY                123
+From a photograph by Charles W. Briggs.
+
+       *       *       *       *       *
+
+
+[Illustration: MAP OF WHITTIER-LAND
+
+KEY:--
+
+1. The Whittier Birthplace.
+2. Joshua Coffin's School, in house now occupied by Thomas Guild.
+      Scene of poem "To My Old Schoolmaster."
+3. Site of District School. Scene of "In School Days."
+4. Job's Hill.
+5. East Haverhill Church.
+6. Cemetery referred to in "The Old Burying Ground."
+7. The Sycamores.
+8. Ramoth Hill.
+9. Hunting Hill.
+10. Grave of the Countess.
+11. Country Bridge.
+12. Site of Thomas Whittier's Log House.
+13. Birchy Meadow, where Whittier taught school.
+14. Home of Sarah Greenleaf.
+15. Home of Dr. Elias Weld and of the Countess, Rocks Village.
+16. "Old Garrison," the Peaslee House.
+17. Rocks Bridge.
+18. Curson's Mill, Artichoke River.
+19. Pleasant Valley.
+20. The Laurels.
+21. Site of "Goody" Martin's House.
+22. Whittier Burial Lot, Union Cemetery.
+23. Macy House.
+24. The Captain's Well.
+25. Friends' Meeting-House, Amesbury.
+26. Whittier Home, Amesbury.
+27. Hawkswood.
+28. Deer Island, Chain Bridge, home of Mrs. Spofford.
+29. Rocky Hill Church.
+30. The Fountain, Mundy Hill.
+31. House at Hampton Falls, where Whittier died.
+32. Scene of "The Wreck of Rivermouth."
+33. Boar's Head.]
+
+
+
+
+HAVERHILL
+
+
+[Illustration: WHITTIER'S BIRTHPLACE
+
+Copyright, 1891, by A. A. Ordway]
+
+
+
+
+WHITTIER-LAND
+
+I
+
+HAVERHILL
+
+
+The whole valley of the Merrimac, from its source among the New
+Hampshire hills to where it meets the ocean at Newburyport, has been
+celebrated in Whittier's verse, and might well be called
+"Whittier-Land." But the object of these pages is to describe only that
+part of the valley included in Essex County, the northeastern section
+of Massachusetts. The border line separating New Hampshire from the Bay
+State is three miles north of the river, and follows all its turnings
+in this part of its course. For this reason each town on the north of
+the Merrimac is but three miles in width. It was on this three-mile
+strip that Whittier made his home for his whole life. His birthplace in
+Haverhill was his home for the first twenty-nine years of his life. He
+lived in Amesbury the remaining fifty-six years. The birthplace is in
+the East Parish of Haverhill, three miles from the City Hall, and three
+miles from what was formerly the Amesbury line. It is nearly midway
+between the New Hampshire line and the Merrimac River. In 1876 the
+township of Merrimac was formed out of the western part of Amesbury,
+and this new town is interposed between the two homes, which are nine
+miles apart.
+
+Haverhill, Merrimac, Amesbury, and Salisbury are each on the
+three-mile-wide ribbon of land stretching to the sea, on the left bank
+of the river. On the opposite bank are Bradford, Groveland, Newbury,
+and Newburyport. The whole region on both sides of the river abounds
+in beautifully rounded hills formed of glacial deposits of clay and
+gravel, and they are fertile to their tops. At many points they press
+close to the river, which has worn its channel down to the sea-level,
+and feels the influence of the tides beyond Haverhill. This gives
+picturesque effects at many points. The highest of the hills have
+summits about three hundred and sixty feet above the surface of the
+river, and there are many little lakes and ponds nestling in the
+hollows in every direction. In the early days these hills were crowned
+with lordly growths of oak and pine, and some of them still retain
+these adornments. But most of the summits are now open pastures or
+cultivated fields. The roofs and spires of prosperous cities and
+villages are seen here and there among their shade trees, and give a
+human interest to the lovely landscape. It is not surprising that
+Whittier found inspiration for the beautiful descriptive passages which
+occur in every poem which has this river for theme or illustration:--
+
+    "Stream of my fathers! sweetly still
+    The sunset rays thy valley fill;
+    Poured slantwise down the long defile,
+    Wave, wood, and spire beneath them smile."
+
+[Illustration: RIVER PATH]
+
+Here is a description of the scenery of the Merrimac valley by Mr.
+Whittier himself, in a review of Rev. P. S. Boyd's "Up and Down the
+Merrimac," written for a journal with which I was connected, and never
+reprinted until now:--
+
+     "The scenery of the lower valley of the Merrimac is not bold
+     or remarkably picturesque, but there is a great charm in the
+     panorama of its soft green intervales: its white steeples
+     rising over thick clusters of elms and maples, its neat
+     villages on the slopes of gracefully rounded hills, dark
+     belts of woodland, and blossoming or fruited orchards, which
+     would almost justify the words of one who formerly
+     sojourned on its banks, that the Merrimac is the fairest
+     river this side of Paradise. Thoreau has immortalized it in
+     his 'Week on the Concord and Merrimack Rivers.' The late
+     Caleb Cushing, who was not by nature inclined to sentiment
+     and enthusiasm, used to grow eloquent and poetical when he
+     spoke of his native river. Brissot, the leader of the
+     Girondists in the French Revolution, and Louis Philippe, who
+     were familiar with its scenery, remembered it with pleasure.
+     Anne Bradstreet, the wife of Governor Bradstreet, one of the
+     earliest writers of verse in New England, sang of it at her
+     home on its banks at Andover; and the lovely mistress of
+     Deer Island, who sees on one hand the rising moon lean above
+     the low sea horizon of the east, and on the other the
+     sunset reddening the track of the winding river, has made it
+     the theme and scene of her prose and verse."
+
+[Illustration: HAVERHILL ACADEMY]
+
+The visitor who approaches Whittier-Land by the way of Haverhill will
+find in that city many places of interest in connection with the poet's
+early life, and referred to in his poems. The Academy for which he
+wrote the ode sung at its dedication in 1827, when he was a lad of
+nineteen, and before he had other than district school training, is now
+the manual training school of the city, and may be found, little
+changed except by accretion, on Winter Street, near the city hall. As
+this ode does not appear in any of his collected works, and is
+certainly creditable as a juvenile production, it is given here. It was
+sung to the air of "Pillar of Glory:"--
+
+    Hail, Star of Science! Come forth in thy splendor,
+      Illumine these walls--let them evermore be
+    A shrine where thy votaries offerings may tender,
+      Hallowed by genius, and sacred to thee.
+        Warmed by thy genial glow,
+        Here let thy laurels grow
+    Greenly for those who rejoice at thy name.
+      Here let thy spirit rest,
+      Thrilling the ardent breast,
+    Rousing the soul with thy promise of fame.
+
+    Companion of Freedom! The light of her story,
+      Wherever her voice at thine altar is known
+    There shall no cloud of oppression come o'er thee,
+      No envious tyrant thy splendor disown.
+        Sons of the proud and free
+        Joyous shall cherish thee,
+    Long as their banners in triumph shall wave;
+        And from its peerless height
+        Ne'er shall thy orb of light
+    Sink, but to set upon Liberty's grave.
+
+    Smile then upon us; on hearts that have never
+      Bowed down 'neath oppression's unhallowed control.
+    Spirit of Science! O, crown our endeavor;
+      Here shed thy beams on the night of the soul;
+        Then shall thy sons entwine,
+        Here for thy sacred shrine,
+    Wreaths that shall flourish through ages to come,
+        Bright in thy temple seen,
+        Robed in immortal green,
+    Fadeless memorials of genius shall bloom.
+
+Haverhill, although but three miles wide, is ten miles long, and
+includes many a fertile farm out of sight of city spires, and out of
+sound of city streets. As Whittier says in the poem "Haverhill:"--
+
+    "And far and wide it stretches still,
+    Along its southward sloping hill,
+    And overlooks on either hand
+    A rich and many-watered land.
+
+          .     .     .     .     .
+
+    And Nature holds with narrowing space,
+    From mart and crowd, her old-time grace,
+    And guards with fondly jealous arms
+    The wild growths of outlying farms.
+
+    Her sunsets on Kenoza fall,
+    Her autumn leaves by Saltonstall
+    No lavished gold can richer make
+    Her opulence of hill and lake."
+
+[Illustration: MAIN STREET, HAVERHILL
+
+City Hall at the right; Haverhill Bridge in middle distance]
+
+This "opulence of hill and lake" is the especial charm of Haverhill.
+The two symmetrical hills, named Gold and Silver, near the river, one
+above and one below the city proper, are those referred to in "The
+Sycamores" as viewed by Washington with admiring comment, standing in
+his stirrups and
+
+      "Looking up and looking down
+    On the hills of Gold and Silver
+      Rimming round the little town."
+
+[Illustration: BIRTHPLACE IN WINTER
+
+From hemlocks above brook
+
+_Copyright, 1891, by A. A. Ordway._]
+
+Silver Hill is the one with the tower on it. As one takes at the
+railway station the electric car for the three-mile trip to the
+Whittier birthplace, two lakes are soon passed on the right. The larger
+one, overlooked by the stone castle on top of a great hill embowered in
+trees, is Kenoza--a name signifying pickerel. It was christened by
+Whittier with the poem which has permanently fixed its name. The whole
+lake and the beautiful wooded hills surrounding it, with the
+picturesque castle crowning one of them, are now included in a public
+park of which any city might be proud. Our car passes close at hand, on
+the left, another lake not visible because it is so much above us. This
+is a singular freak of nature--a deep lake fed by springs on top of a
+hill. The surface of this lake is far above the tops of most of the
+houses of Haverhill, and it is but a few rods from Kenoza, which lies
+almost a hundred feet below. Our road is at middle height between the
+two, and only a stone's throw from either.
+
+[Illustration: KENOZA]
+
+[Illustration: FERNSIDE BROOK, THE STEPPING-STONES]
+
+As we approach the birthplace, it is over the northern shoulder of
+Job's Hill, the summit of which is high above us at the right. This
+hill was named for an Indian chief of the olden time. We look down at
+the left into an idyllic valley, and through the trees that skirt a
+lovely brook catch sight of the ancient farmhouse on a gentle slope
+which seems designed by nature for its reception. To the west and south
+high hills crowd closely upon this valley, but to the east are green
+meadows through which winds, at last at leisure, the brook just
+released from its tumble among the rocks of old Job's left shoulder.
+The road by which we have come is comparatively new, and was not in
+existence when the Whittiers lived here. The old road crosses it close
+by the brook, which is here bridged. The house faces the brook, and not
+the road, presenting to the highway the little eastern porch that gives
+entrance to the kitchen,--the famous kitchen of "Snow-Bound."
+
+The barn is across the road directly opposite this porch. It is now
+much longer than it was in Whittier's youth, but two thirds of it
+towards the road is the old part to which the boys tunneled through the
+snowdrift--
+
+              ... "With merry din,
+    And roused the prisoned brutes within.
+    The old horse thrust his long head out,
+    And grave with wonder gazed about;
+    The cock his lusty greeting said,
+    And forth his speckled harem led
+    The oxen lashed their tails, and hooked,
+    And mild reproach of hunger looked;
+    The horned patriarch of the sheep,
+    Like Egypt's Amun roused from sleep,
+    Shook his sage head with gesture mute,
+    And emphasized with stamp of foot."
+
+This is not the original barn of the pioneers, but was built by
+Whittier's father and uncle Moses in 1821. The ancient barn was not
+torn down till some years later. It was in what is now the orchard back
+of the house. There used to be, close to the cattle-yard of the
+comparatively new barn, a shop containing a blacksmith's outfit. This
+was removed more than fifty years ago, being in a ruinous condition
+from extreme old age. It had not been so tenderly cared for as was its
+contemporary of the Stuart times across the road.
+
+[Illustration: THE BIRTHPLACE, FROM THE ROAD
+
+Showing eastern porch, gate, bridle-post, and large boulder used as
+horse-block]
+
+Thomas Whittier, the pioneer, did not happen upon this valley upon his
+first arrival from England, in 1638. Indeed, at that time the
+settlements had not reached into this then primeval wilderness. He
+settled first in that part of Salisbury which is now named Amesbury,
+and while a very young man represented that town in the General Court.
+The Whittier Hill which overlooks the poet's Amesbury home was named
+for the pioneer, and not for his great-great-grandson. It is to this
+day called by Amesbury people Whitcher Hill--as that appears to have
+been the pronunciation of the name in the olden time. For some reason
+he removed across the river to Newbury. As a town official of
+Salisbury, he had occasion to lay out a highway towards Haverhill--a
+road still in use. He came upon a location that pleased his fancy, and
+in 1647, at the age of twenty-seven, he returned to the northern side
+of the river and built a log house on the left bank of Country Brook,
+about a mile from the location he selected in 1688 for his permanent
+residence. He lived forty-one years in this log house, and here raised
+a family of ten children, five of them stalwart boys, each over six
+feet in height. He was sixty-eight years old when he undertook to build
+the house now the shrine visited yearly by thousands. In raising its
+massive oaken frame he needed little help outside his own family. As to
+the location of the log house, the writer of these pages visited the
+spot with Mr. Whittier in search of it in 1882. He said that when a boy
+he used to see traces of its foundation, and hoped to find them again;
+but more than half a century had passed in the mean time, and our
+search was unsuccessful. It was on the ridge to the left of the road,
+quite near the old Country Bridge.
+
+[Illustration: THE HAUNTED BRIDGE OF COUNTRY BROOK]
+
+Country Bridge had the reputation of being haunted, when Whittier was a
+boy, and several of his early uncollected poems refer to this fact. No
+one who could avoid it ventured over it after dark. He told me that
+once he determined to swallow his fears and brave the danger. He
+approached whistling to keep his courage up, but a panic seized him,
+and he turned and ran home without daring to look behind. It was in
+this vicinity that Thomas Whittier built his first house in Haverhill.
+Further down the stream was Millvale, where were three mills, one a
+gristmill. This mill and the evil reputation of the bridge are both
+referred to in these lines from "The Home-Coming of the Bride," a
+fragment first printed in "Life and Letters:"--
+
+    "They passed the dam and the gray gristmill,
+      Whose walls with the jar of grinding shook,
+    And crossed, for the moment awed and still,
+      The haunted bridge of the Country Brook."
+
+It was the custom of the pioneers, when they had the choice, to select
+the sites of their homes near the small water powers of the brooks; the
+large rivers they had not then the power to harness. There were good
+mill sites on Country Brook below the log house, but probably some
+other settler had secured them, and Thomas Whittier found in the
+smaller stream on his own estate a fairly good water power. Fernside
+Brook is a tributary of Country Brook. Probably this decided the
+selection of the site for a house which was to be a home for generation
+after generation of his descendants. The dam recently restored is at
+the same spot where stood the Whittier mill, and in making repairs some
+of the timbers of the ancient mill were found. Parts of the original
+walls of the dam are now to be seen on each side of the brook, but the
+mill had disappeared long before Whittier was born. Further up the
+brook were two other dams, used as reservoirs. The lower dam when
+perfect was high enough to enable the family to bring water to house
+and barn in pipes.
+
+When entering the grounds, notice the "bridle-post" at the left of the
+gate, and a massive boulder in which rude steps are cut for mounting a
+horse led up to its side:--
+
+    "The bridle-post an old man sat
+    With loose-flung coat and high cocked hat."
+
+Like all of Whittier's descriptions, this is an exact picture of what
+he had in mind; for this stone, after a great snowstorm, would assume
+just this appearance. As to the phrase, "the well-curb had a Chinese
+roof," I once asked him how this well could have had a roof, as the
+"long sweep high aloof" would have interfered with it. He stood by the
+side of the well, and explained that there was no roof, but that there
+was a shelf on one side of the curb on which to rest the bucket. The
+snow piled up on this like a Chinese roof. The isolation of the
+homestead referred to in the phrase, "no social smoke curled over
+woods of snow-hung oak," has not been broken in either of the centuries
+this house has stood. No other house was ever to be seen from it in any
+direction. And yet neighbors are within a half-mile, only the hills and
+forests hide their habitations from view. When the wind is right, the
+bells of Haverhill may be faintly heard, and the roar of ocean after a
+storm sometimes penetrates as a hoarse murmur in this valley.
+
+In the old days, before these hills were robbed of the oaken growths
+that crowned their summits, their apparent height was much increased,
+and the isolation rendered even more complete than now. Sunset came
+much earlier than it did outside this valley. The eastern hill, beyond
+the meadow, is more distant and not so high, and so the sunrises are
+comparatively early. Visitors interested in geology will find this hill
+an unusually good specimen of an eschar, a long ridge of glacial gravel
+set down in a meadow through which Fernside Brook curves on its way to
+its outlet in Country Brook. Job's Hill at the south rises so steeply
+from the right bank of Fernside Brook, at the foot of the terraced
+slope in front of the house, that it is difficult for many rods to get
+a foothold. The path by which the hill was scaled and the
+stepping-stones by which the brook was crossed are accurately sketched
+in the poem "Telling the Bees,"--a poem, by the way, which originally
+had "Fernside" for its title:--
+
+    "Here is the place; right over the hill
+      Runs the path I took;
+    You can see the gap in the old wall still,
+      And the stepping-stones in the shallow brook."
+
+Visitors should read the stanzas immediately following this, and note
+the exactness of the poet's description of the homestead he had in
+mind. The poem was written more than twenty years after he left
+Haverhill, and it was many years after that when Mr. Alfred Ordway, in
+taking photographs of the place, noticed that it had already been
+pictured in verse; when he spoke of it to Mr. Whittier, the poet was
+both surprised and pleased at this, which, he said, was the first
+recognition of his birthplace. The public is indebted to Mr. Ordway for
+many other discoveries of the same kind, illustrating Whittier's minute
+fidelity to nature in his descriptions of scenery.
+
+[Illustration: GARDEN AT BIRTHPLACE]
+
+Let us enter the house by the eastern porch, noting the circular
+door-stone, which was the millstone that ground the grain of the
+pioneers, more than a century before Whittier was born. It belonged in
+the mill on the brook to which reference has been made. The fire which
+destroyed the roof of the house in November, 1902, did not injure this
+porch, and there were other parts of the house which were scarcely
+scorched. These are the original walls, and the handiwork of the
+pioneers is exactly copied in whatever had to be restored. This was
+made possible by photographs that had been kept, showing the width and
+shape of every board and moulding, inside and outside the house. Here
+again it is Mr. Ordway, president of the board of trustees having the
+birthplace in charge, who is to be especially thanked. It is proper
+here, as I have spoken of the fire, to mention the heroic work of the
+custodian, Mrs. Ela, and others, who saved every article of the
+precious souvenirs endangered by the fire, so that nothing was lost.
+
+The kitchen, which occupies nearly the whole northern side of the
+house, is twenty-six feet long and sixteen wide. The visitor's
+attention is usually first drawn to the great fireplace in the centre
+of its southern side. The central chimney was built by the pioneer more
+than two centuries ago, and it has five fireplaces opening into it. The
+bricks of the kitchen hearth are much worn, as might be expected from
+having served so many generations as the centre of their home life. It
+was around this identical hearth that the family was grouped, as
+sketched in the great poem which has consecrated this room, and made it
+a shrine toward which the pilgrims of many future generations will find
+their way. Here was piled--
+
+    "The oaken log, green, huge and thick,
+    And on its top the stout back-stick;
+    The knotty forestick laid apart,
+    And filled between with curious art
+    The ragged brush; then, hovering near,
+    We watched the first red blaze appear,
+    Heard the sharp crackle, caught the gleam
+    On whitewashed wall and sagging beam,
+    Until the old, rude-furnished room
+    Burst, flower-like, into rosy bloom."
+
+Here on these very bricks simmered the mug of cider and the "apples
+sputtered in a row," while through these northern windows the homely
+scene was repeated on the sparkling drifts in mimic flame. The table
+now standing between these windows is the same that then stood there,
+and many of the dishes on the shelves near by are the family heirlooms
+occupying their old places. Two of these pieces of china were brought
+here by Sarah Greenleaf, Whittier's grandmother. The bull's-eye watch
+over the mantel is a fine specimen of the olden time, and hangs on the
+identical nail from which uncle Moses nightly suspended his plump
+timepiece.
+
+But perhaps the article which is most worthy of attention in this room
+is the desk at the eastern corner. This was the desk of Joseph
+Whittier, great-grandfather of the poet, and son of the pioneer. On the
+backs and bottoms of the drawers of this desk are farm memoranda made
+with chalk much more than a century ago. One item dated in 1798 records
+that the poet's father made his last excursion to Canada in that year.
+It was about a century old when the boy Whittier scribbled his first
+rhymes upon it. By an interesting coincidence he also, in his
+eighty-fifth year, wrote his very last poem upon it. When the family
+removed to Amesbury, in 1836, this desk was taken with them, but soon
+after was replaced by a new one, and this went "out of commission." The
+new desk was the one on which "Snow-Bound" was written, and this may
+now be seen at Amesbury. When Mr. Whittier's niece was married, he gave
+her this old desk, which she took to Portland, where it was thoroughly
+repaired. When he visited Portland, he wrote many letters and some
+poems on it. In the summer of 1891, as her uncle proposed to make his
+home with his cousins, the Cartlands, in Newburyport, his niece had
+this ancient desk sent there. Mr. Whittier was greatly pleased, upon
+his arrival, to find in his room the heirloom which was hallowed by so
+many associations connected not only with his ancestry, but with his
+own early life. Nearly all of the literary work of his last year was
+done upon this desk. To his niece he wrote:--
+
+"I am writing at the old desk, which Gertrude has placed in my room,
+but it seems difficult to imagine myself the boy who used to sit by it
+and make rhymes. It is wonderfully rejuvenated, and is a handsome
+piece of furniture. It was the desk of my great-grandfather, and seemed
+to me a wretched old wreck when thee took it to Portland. I did not
+suppose it could be made either useful or ornamental. I wrote my first
+pamphlet on slavery, 'Justice and Expediency,' upon it, as well as a
+great many rhymes which might as well have never been written. I am
+glad that it has got a new lease of life."
+
+[Illustration: KITCHEN IN BIRTHPLACE
+
+Copyright, 1891, by A. A. Ordway]
+
+The little room at the western end of the kitchen was "mother's room,"
+its floor two steps higher than that of the larger room, for a singular
+reason. In digging the cellar the pioneer found here a large boulder it
+was inconvenient to remove, and wishing a milk room at this corner, he
+was obliged to make its floor two steps higher than the rest of the
+cellar. This inequality is reproduced in each story. In this little
+room the bed is furnished with the blankets and linen woven by
+Whittier's mother on the loom that used to stand in the open chamber.
+Her initials "A. H." on some of the pieces show that they date back to
+her life in Somersworth, N. H. On the wall of this room may be seen the
+baby-clothes of Whittier's father, made by the grandmother who brought
+the name of Greenleaf into the family. The bureau in this room is the
+one that stood there in the olden time. The little mirror that stands
+on it is the one by which Whittier shaved most of his life. He used it
+at Amesbury, and possibly his father used it before him at Haverhill.
+
+Mr. Whittier had a great fund of stories of the supernatural that were
+current in this neighborhood in his youth, and one that had this very
+kitchen for its scene, he told with much impressiveness. It was the
+story of his aunt Mercy--
+
+    "The sweetest woman ever Fate
+    Perverse denied a household mate."
+
+It was out of this window in the kitchen that she saw the horse and its
+rider coming down the road, and recognized the young man to whom she
+was betrothed. It was out of this window in the porch that she saw them
+again, as she went to the door to welcome her lover. It was this door
+she opened, to find no trace of horse or rider. It was to this little
+room at the other end of the kitchen that she went, bewildered and
+terrified, to waken her sister, who tried in vain to pacify her by
+saying she had been dreaming by the fire, when she should have been in
+bed. And it was in this room she received the letter many days later
+telling her of the death of her lover in a distant city at the hour of
+her vision.[1] Mr. Whittier told such stories with the air of more than
+half belief in their truth, especially in his later years, when he
+became interested in the researches of scientists in the realm of
+telepathy. He said his aunt was the most truthful of women, and she
+never doubted the reality of her vision.
+
+[Illustration: WESTERN END OF KITCHEN
+
+View of "mother's room;" the poet was born in a room at the left,
+beyond the fireplace
+
+Copyright 1891, by A. A. Ordway]
+
+The door at the southwestern corner of the kitchen opens into the room
+in which the poet was born. This was the parlor, but as the Friends
+were much given to hospitality, it was often needed as a bedroom, and
+there was in it a bedstead that could be lifted from the floor and
+supported by a hook in the ceiling when not in use. In the corners are
+cabinets containing articles of use and ornament that are genuine
+relics of the Whittier family. The inlaid mahogany card-table between
+the front windows was brought to this house just a century ago (1804)
+by Abigail Hussey, the bride of John Whittier, and placed where it now
+stands. Like the desk in the kitchen, it has always been in the
+possession of the family, and was restored to the birthplace by the
+niece to whom Whittier gave it. In this room are several books that
+belonged in the small library of Whittier's father, which are mentioned
+in "Snow-Bound," and described more fully in the rhymed catalogue, a
+part of which appears in "Life and Letters," p. 46. I here give the
+full list copied from Whittier's manuscript, for which I am indebted to
+Miss Sarah S. Thayer, daughter of Abijah W. Thayer, who edited the
+"Haverhill Gazette," and with whom Whittier boarded while in the
+Academy. Mr. Thayer had appended to the manuscript these words: "This
+was deposited in my hands about 1828, by John G. Whittier, who assured
+me that it was his first effort at versification. It was written in
+1823 or 1824, when Whittier was fifteen or sixteen years old."
+
+
+NARRATIVES
+
+    How Captain Riley and his crew
+    Were on Sahara's desert threw.
+    How Rollins to obtain the cash
+    Wrote a dull history of trash.
+    O'er Bruce's travels I have pored,
+    Who the sources of the Nile explored.
+    Malcolm of Salem's narrative beside,
+    Who lost his ship's crew, unless belied.
+    How David Foss, poor man, was thrown
+    Upon an island all alone.
+
+
+RELIGIOUS
+
+    The Bible towering o'er the rest,
+    Of all the other books the best.
+    Old Father Baxter's pious call
+    To the unconverted all.
+    William Penn's laborious writing,
+    And the books 'gainst Christians fighting.
+    Some books of sound theology,
+    Robert Barclay's "Apology."
+    Dyer's "Religion of the Shakers,"
+    Clarkson's also of the Quakers.
+    Many more books I have read through--
+    Bunyan's "Pilgrim's Progress" too.
+    A book concerning John's baptism,
+    Elias Smith's "Universalism."
+
+JOURNALS, LIVES, &c.
+
+    The Lives of Franklin and of Penn,
+    Of Fox and Scott, all worthy men.
+    The Lives of Pope, of Young and Prior,
+    Of Milton, Addison, and Dyer;
+    Of Doddridge, Fenelon and Gray,
+    Armstrong, Akenside, and Gay.
+    The Life of Burroughs, too, I've read,
+    As big a rogue as e'er was made;
+    And Tufts, who, I will be civil,
+    Was worse than an incarnate devil.
+              --Written by John G. Whittier.
+
+The books of this library now to be seen are the "Life of George Fox,"
+in two leather-bound volumes, printed in London, 1709, Sewel's "Painful
+History," printed in 1825, Ellwood's "Drab-Skirted Muse," Philadelphia
+edition of 1775, and Thomas Clarkson's "Portraiture of Quakerism," New
+York edition of 1806.
+
+The little red chest near the fireplace is an ancient relic of the
+family, formerly used for storing linen. The portrait of Whittier over
+the fireplace is enlarged from a miniature painted by J. S. Porter
+about 1830, and it is the earliest likeness of the poet ever taken. The
+original miniature may be seen at the Amesbury home. The large
+portrait on the opposite side of the room was painted by Joseph Lindon
+Smith, an artist of celebrity, who is a relative of Whittier's.
+Portraits of Whittier's brother, his sisters, his mother, and his old
+schoolmaster, Joshua Coffin, are shown in this room. The silhouette on
+the mantelpiece is of aunt Mercy, his mother's unmarried sister. A
+sampler worked by Lydia Aver, the girl commemorated in the poem "In
+School Days," is exhibited in this room. She was a member of the family
+who were the nearest neighbors of the Whittiers--a family still
+represented in their ancient homestead, where her grandniece now lives.
+She died at the age of fourteen.
+
+It was the privilege of the writer to accompany Mr. Whittier when he
+made his last visit to his birthplace, in late October, 1882. When in
+this birth-room, he expressed a wish to see again a fire upon its
+hearth, not for warmth, for it was a warm day, but for the sentiment of
+it. The elderly woman who had charge of the house said she would have a
+fire built, and in the mean time we went down to the brook, intending
+to cross by the stepping-stones he had so often used. But the brook was
+running full, the stepping-stones were slippery, and Mr. Whittier
+reluctantly gave up crossing. Then we visited the little burying-ground
+of the family, where lie the remains of his ancestors. When we returned
+to the parlor, we found the good woman had brought down a sheet-iron
+air-tight stove from the attic, set it in the fireplace, and there was
+a crackling fire in it! I suggested that we could easily remove the
+stove and have a blaze on the hearth, but Mr. Whittier at once
+negatived the proposition, saying we must not let the woman know we
+were disappointed. She had taken much pains to please us, and must not
+be made aware of her mistake. He was always ready to suffer
+inconvenience rather than wound the sensibilities of any one.
+
+From the back entry at the western end of the kitchen ascends the
+steep staircase down which Whittier, when an infant, was rolled by his
+sister Mary, two years older than he. She thought if he were well
+wrapped in a blanket he would not be harmed, and the experiment proved
+quite successful, thanks to her abundant care in bundling him in many
+folds. He happily escaped one other peril in his infancy. His parents
+took him with them on a winter drive to Kingston, N. H. To protect him
+from the cold, he was wrapped too closely in his blankets, and he came
+so near asphyxiation that for a time he was thought to be dead. He was
+taken into a farmhouse they were passing when the discovery was made,
+and after a long and anxious treatment they were delighted to find he
+was living.
+
+The rooms in the upper part of the house injured by the recent fire
+have been perfectly restored to their original condition. At Whittier's
+last visit here he went into every room, and told stories of the
+happenings of his youth in each. At the head of the back stairs is a
+little doorless press, which he pointed out as a favorite play-place of
+his and his brother's. Here they found room for their few toys, as
+perhaps three generations of Whittier children had done before them.
+And it is not unlikely that some of their toys had amused the youth of
+their grandfather. One of his earliest memories is connected with this
+little closet, for here he had his first severe twinge of conscience.
+He had told a lie--no doubt a white one, for it did not trouble him at
+first--and soon after was watching the rising of a thunder-cloud that
+was grumbling over the great trees on the western hill near at hand. A
+bolt descended among the oaks, and the deafening explosion was
+instantaneous. He saw in it an exhibition of divine wrath over his sin,
+and obeyed the primal instinct to hide himself. His mother, searching
+for him some time after the storm had passed, found her repentant
+little boy almost smothered under a quilt in this closet, and as he
+confessed his sin, he was tenderly shrived. Here in the open chamber
+the brothers often slept when visitors claimed the little western
+chamber they usually occupied. They would sometimes find, sifted
+through cracks in the old walls, a little snowdrift on their quilt. The
+small western room the boys called theirs was the scene of the story
+Trowbridge has so neatly versified. The elder proposed that as they
+could lift each other, by lifting in turn they could rise to the
+ceiling, and there was no knowing how much further if they were out of
+doors! The prudent lads, to make it easy in case of failure, stood upon
+the bed in this little room. Trowbridge says:--
+
+    "Kind Nature smiled on that wise child,
+      Nor could her love deny him
+    The large fulfilment of his plan;
+    Since he who lifts his brother man
+      In turn is lifted by him."
+
+Boys were boys in those days, and Whittier told us of trying to annoy
+his younger sister by pretending to hang her cat on this railing to the
+attic stairs. And girls were girls too; for he told of Elizabeth's
+frightening two hired men who were occupying the open chamber. They had
+been telling each other ghost stories after they went to bed; but both
+asserted that they could not be frightened by such things. From over
+the door of her room Elizabeth began throwing pins, one at a time, so
+that they would strike on the floor near the brave men. They were so
+frightened they would not stay there another night. In the open attic
+bunches of dried herbs hung from the rafters, and traces of corn
+selected for seed. On the floor the boys spread their store of nuts
+"from brown October's wood." Originally the northern side of the roof
+sloped down to the first story, as was the fashion in the days of the
+Stuarts. But some years before Whittier's birth this side of the roof
+was raised, giving much additional chamber room.
+
+Not far from the house, at the foot of the western hill, is the small
+lot inclosed by a stone wall, to which reference has been made, that
+from the earliest settlement was the burying-place of the family. Here
+lie the remains of Thomas Whittier and those of his descendants who
+were the ancestors of the poet. A plain granite shaft in the centre of
+the lot is inscribed with the names of Thomas Whittier and of Ruth
+Green, his wife; Joseph Whittier and Mary Peaslee, his wife; Joseph
+Whittier, 2d, and Sarah Greenleaf, his wife. No headstones mark the
+several graves. Others of the family were buried here, including Mary
+Whittier, an aunt of the poet. His father and uncle Moses, originally
+buried here, were removed to the Amesbury cemetery, when his mother
+died, in 1857.
+
+[Illustration: THE WHITTIER ELM]
+
+Across the road from the house of the nearest neighbors, the Ayers, in
+a field of the Whittier farm, is an old, immense, and symmetrical tree,
+labeled "The Whittier Elm," which the poet's schoolmate, Edmund Ayer,
+saved from the woodman's axe by paying an annual tribute, at a time
+when the farm had gone out of the possession of the Whittiers, and
+while the new proprietors were intent upon despoiling the place of its
+finest trees. This is the tree referred to in these lines, written in
+1862, in the album of Lydia Amanda Ayer (now Mrs. Evans), his
+schoolmate Lydia's niece:--
+
+    "A dweller where my infant eyes
+    Looked out on Nature's sweet surprise,
+    Whose home is in the ample shade
+    Of the old Elm Tree where I played,
+    Asks for her book a word of mine:--
+    I give it in a single line:
+    Be true to Nature and to Heaven's design!"
+
+Whittier took us that October day to neighbor Ayer's house, where the
+brother of little Lydia was still living, who also was a schoolmate of
+the poet, and they talked of the old times with the greatest relish.
+The Ayer house occupies the site of a garrison house, built of strong
+oaken timbers, and used as a house of refuge in the time of the Indian
+wars. The Whittiers, though close at hand, never availed themselves of
+its protection, even when Indian faces covered with war-paint peered
+through the kitchen windows upon the peaceful Quaker family. We were
+soon joined by another aged schoolmate, Aaron Chase, and with him we
+went to Corliss Hill, where Whittier showed us the two houses in which
+he first went to school. They are both now standing, and are
+dwelling-houses in each of which a room was given up for the district
+school--one before the house described in "In School Days" was built,
+and the other while it was being repaired. He had not yet arrived at
+school age when his sister Mary took him to his first school, kept by
+his life-long friend, Joshua Coffin, to whom he addressed the poem, "To
+My Old Schoolmaster." As I happened to be a nephew of Coffin, he told
+me stories of his first school. It was kept in an unfinished ell of a
+farmhouse; but the room had been transformed into a neatly furnished
+kitchen when we visited it. In the poem referred to he alludes to the
+quarrels of the good man and his tipsy wife heard through "the cracked
+and crazy wall." He told this story of the tipsy wife: She sent her son
+for brush to heat her oven. He brought such a nice load that she
+thought it too bad to waste it in the oven. So she sent her son with it
+to the grocery, and he brought back the liquor he received in payment.
+But this made her short of oven wood, and to eke out her supply of fuel
+she burned a loose board of the cellar stairs. The next time she had
+occasion to go to the cellar, she forgot the hiatus she had made and
+broke her leg. After Mr. Chase left us, Whittier told me that his old
+schoolmate was a nephew of the last person usually accounted a witch in
+this neighborhood. She was the wife of Moses Chase of Rocks Village.
+Her relatives believed her a witch, and one of her nieces knocked her
+down in the shape of a persistent bug that troubled her. At that moment
+it happened that the old woman fell and hurt her head. The old lady on
+one occasion went before Squire Ladd, the blacksmith and Justice of the
+Peace at the Rocks, and took her oath that she was not a witch.
+
+[Illustration: JOSHUA COFFIN
+
+    "Olden teacher, present friend,
+    Wise with antiquarian search,
+    In the scrolls of State and Church;
+    Named on history's title-page,
+    Parish-clerk and justice sage."
+              TO MY OLD SCHOOLMASTER]
+
+We next visited the scene of "In School Days," and found some traces of
+the schoolhouse that have since been obliterated, although a tablet now
+marks its site. The door-stone over which the scholars "went storming
+out to playing" was still there, and some of the foundation stones were
+in place. "Around it still the sumachs" were growing, and blackberry
+vines were creeping. Mr. Whittier gathered a handful of the red sumach,
+and took it to Amesbury with him. It remained many days in a vase in
+his "garden room." Speaking of his boyhood, he said he was always glad
+when it came his turn to stay at home on First Day. The chaise, driven
+to Amesbury--nine miles--every First and Fifth Day, fortunately was not
+of a capacity to take the whole family at once. This gave him an
+occasional opportunity, much enjoyed, to spend the day musing by the
+brook, or in the shade of the oaks and hemlocks on the breezy hilltops,
+which commanded a view unsurpassed for beauty. These hills, which so
+closely encompass the ancient homestead at the west and south, are
+among the highest in the county. From them one gets glimpses of the
+ocean in Ipswich Bay, the undulating hills of Newbury, cultivated to
+their tops, on the further side of the Merrimac, the southern ranges
+of the New Hampshire mountains, and the heights of Wachusett and
+Monadnock in Massachusetts. Po Hill, in Amesbury, under which stands
+the Quaker meeting-house where his parents worshiped, shows its great
+round dome in the east. He never tired of these views, and celebrated
+them in many of his poems. He especially dreaded the winter drives to
+meeting. Buffalo robes were not so plenty in those days as they became
+a few years later, and our fathers did not dress so warmly as do we. He
+was so stiffened by cold on some of these drives to Amesbury that he
+told me "his teeth could not chatter until thawed out." Winter had its
+compensations, as he has so well shown in "Snow-Bound." But it is
+noticeable that he does not refer in that poem to the winter drives to
+meeting. On one occasion he improved the absence of his parents on a
+First Day to go nutting. He climbed a tall walnut, and had a fall of
+about twenty feet which came near being fatal. The Friends did not
+theoretically hold one day more sacred than another, and yet theirs was
+the habit of the Puritan community, to abstain from all play as well as
+from work on the Sabbath, and this fall gave a smart fillip to the
+young poet's conscience.
+
+[Illustration: SCENE OF "IN SCHOOL DAYS"]
+
+This story illustrating Whittier's popularity when a child I did not
+get from him, but is a legend of the neighborhood. One of their nearest
+neighbors, a Miss Chase, had a cherry-tree she guarded with the utmost
+jealousy. No bird could alight on it in cherry time, and no boy
+approach it, without bringing her to the rescue with a promptness that
+frightened them. One day she saw a boy in the branches of this precious
+tree, and issued upon the scene with dire threats. She caught sight of
+the culprit's face, and instantly changed her tone: "Oh, is it you,
+Greenleaf? Take all the cherries you want!"
+
+The old homestead was an object of interest as far back as 1842, as is
+shown by a letter before me, written by Elizabeth Nicholson of
+Philadelphia, who asks her friend, Elizabeth Whittier, for a picture of
+it: "When thee come to Philadelphia if thee will bring ever so rough a
+sketch of the house where Greenleaf was born, for Elizabeth Lloyd to
+copy for my book, why--we'll be glad to see thee! I hope for the sake
+of the picturesque it is a ruin--indeed it must be, for Griswold says
+it has been in the family a hundred years!" It had then been in the
+family for over one hundred and fifty years. The book referred to by
+Miss Nicholson was a manuscript collection of all the verses, published
+and unpublished, that Whittier had written at that time--a notable
+collection, now in existence. She had obtained from the poet a preface
+in verse for this album, which as it has autobiographical material,
+refers to the scenery of his birthplace, and was never in print, is
+here given in a version he prepared for another similar album. For
+this version I am indebted to the collection made by Mary Pillsbury of
+Newbury, which contains other original poems of Whittier never
+published:--
+
+
+A RETROSPECT
+
+    O visions of my boyhood! shades of rhymes!
+    Vain dreams and longings of my early times!
+    The work of intervals, a ploughboy's lore,
+    Oft conned by hearthlight when day's toil was o'er;
+    Or when through roof-cracks could at night behold
+    Bright stars in circle with pattens of gold;
+    Or stretched at noon while oaken branches cast
+    A restful shade, where rippling waters passed;
+    The ox unconscious panted at my side,
+    The good dog fondly his young master eyed,
+    And on the boughs above the forest bird
+    Alone rude snatches of the measure heard;
+    The measure that had sounded to me long,
+    And vain I sought to weave it in a song,
+    Or trace it, when the world's enchantment first
+    To longing eye, as kindling dawn's light, burst.
+    Then flattery's voice, in woman's gentlest tone,
+    Woke thoughts and feelings heretofore unknown,
+    And homes of wealth and beauty, wit and mirth,
+    By taste refined, by eloquence and worth,
+    Taught and diffused the intellect's high joy,
+    And gladly welcomed e'en a rustic boy;
+    Or when ambition's lip of flame and fear
+    Burned like the tempter's to my listening ear,
+    And a proud spirit, hidden deep and long,
+    Rose up for strife, stern, resolute, and strong,
+    Eager for toil, and proudly looking up
+    To higher levels for the world, with hope.
+
+In these lines Whittier has told in brief the whole story of his life,
+from his early dreaming by this brookside and at this hearthstone, to
+the waking of his political ambitions, and later to his earnest strife
+to bring up the world "to higher levels."
+
+It happened that the day on which Whittier visited his birthplace for
+the last time was toward the close of a spirited political campaign in
+which Whittier took much interest, as General Butler was a candidate he
+was opposing. Speaking of Butler reminded him of the pet ox of his
+boyhood, which had the odd name of "Old Butler," between whose horns he
+would sit as the animal chewed his cud under the hillside oaks. This
+was the same ox that, in rushing down one of these steep hills for
+salt, could not stop because of his momentum, but saved his young
+master's life by leaping over his head. No doubt this ox was in mind
+when he wrote the line just quoted, "The ox unconscious panted at my
+side." One story reminded him of another, and he said this ox was named
+for another that had its day in a former generation on a neighboring
+farm.
+
+This is the story he told of the original "Old Butler:" A family named
+Morse lived not far from here, and included several boys fond of
+practical joking. The older brothers one day bound the youngest upon
+the back of the ox, Butler. Frightened by the unusual burden, the
+animal dashed away to the woods on Job's Hill. The lad was fearfully
+bruised before he was rescued. Indignant at the treatment he had
+received, he left home the next morning, and was not heard from until
+in his old age he returned to the Haverhill farm, and found his
+brothers still living. They killed for him the fatted calf, and after
+the supper, as they sat before the great wood fire, they talked over
+the events of their boyhood. One of the brothers referred to the
+subject all had hitherto avoided, and said, "Don't you remember your
+ride upon Old Butler?" "Yes, I _do_ remember it," was the answer, "and
+I don't thank you for bringing it up at this time." The next morning he
+left the place, and was never again heard from. Mr. Whittier told this
+story to explain the odd name he had given his ox.
+
+The story has been often told of Garrison's coming out to East
+Haverhill to find a contributor who had interested him; and it has
+been stated that the Quaker lad was called in from work in the field to
+see the dapper young editor and his lady friend. He once told me that
+the situation was a bit more awkward for him. It happened that on this
+eventful morning the young poet had discovered that a hen had stolen
+her nest under the barn, and he was crawling on his hands and knees,
+digging his dusty way towards the hen, when his sister Mary came out to
+summon him to receive city visitors. It was only by her urgent
+persuasion that he was induced to give up burrowing for the eggs. By
+making a wide detour, he entered the house without being seen, and in
+haste effected a change of raiment. In telling the story, he said he
+put on in his haste a pair of trousers that came scarcely to his
+ankles, and he must have been a laughable spectacle. He would have felt
+much more at ease if he had come in just as he was when he emerged from
+under the barn. Garrison, with the social tact that ever distinguished
+him, put the shy boy at his ease at once.
+
+After the death of their father, Greenleaf and his brother Franklin for
+a time worked the farm together, and when in later life they indulged
+in reminiscences of this agricultural experience, this is a story with
+which the poet liked to tease his brother: Franklin was sent to swap
+cows with a venerable Quaker living at considerable distance from their
+homestead. He came back with a beautiful animal, warranted as he
+supposed to be a good cow, and he depended upon a verbal warrant from a
+member of a Society which was justly proud of its reliability in all
+business transactions. It was soon found that she was worthless as a
+milker, and Franklin took her back, demanding a cancellation of the
+bargain because the cow was not as represented. But the old Quaker was
+ready for him: "What did I tell thee? Did I say she was a _good_ cow?
+No, I told thee she was a _harnsome_ cow--and thee cannot deny she _is_
+harnsome!"
+
+One of Whittier's ancestors was fined for cutting oaks on the common.
+When this fact was discovered, he was asked if he would wish this
+circumstance to be omitted in his biography. "By no means," he said,
+"tell the whole story. It shows we had some enterprising ancestors,
+even if a bit unscrupulous."
+
+When Whittier last visited his birthplace, ten years before his death,
+he was saddened by many evidences he saw that the estate was not being
+thriftily managed, and expressed the wish to buy and restore the place
+to something like its condition when it remained in his family. Not one
+of his near relatives was then so situated as to be able to take charge
+of it, and his idea of again making it Whittier homestead was
+reluctantly given up. When he learned, towards the close of his life,
+that Mr. Ordway, Mayor Burnham, and other public-spirited citizens of
+Haverhill, proposed to buy and care for the place, already become a
+shrine for many visitors, he asked permission to pay whatever might be
+needed for its purchase. He died before negotiations could be
+completed, and Hon. James H. Carleton generously bought the homestead,
+and transferred the proprietorship to a self-perpetuating board of nine
+trustees, viz.: Alfred A. Ordway, George C. How, Charles Butters,
+Dudley Porter, Thomas E. Burnham, Clarence E. Kelley, Susan B. Sanders,
+Sarah M. F. Duncan, and Annie W. Frankle. In the deed of gift the
+trustees were enjoined "to preserve as nearly as may be the natural
+features of the landscape; preserve and restore the buildings thereon
+as nearly as may be in the same condition as when occupied by Whittier;
+and to afford all persons, at such suitable times and under such proper
+restrictions as said trustees may prescribe, the right and privilege of
+access to the same, that thereby the memory and love for the poet and
+the man may be cherished and perpetuated." Mr. Ordway was made
+president of the board, and in his hands the office has been no
+sinecure. His unflagging zeal and his unerring good taste have resulted
+not only in putting the ancient house into the perfect order of the
+olden time, but in fertilizing the wornout fields, and preserving for
+future ages one of the finest specimens in the country of the colonial
+farmhouse of New England. Mr. Whittier's niece, to whom he left his
+house in Amesbury, returned to the birthplace many of the household
+treasures that were carried from there in 1836. The articles in the
+house purporting to be Whittier heirlooms may be depended on as
+genuine.
+
+I do not think that Whittier was ever aware that Harriet Livermore, the
+"not unfeared, half-welcome guest," of whom he gave such a vivid
+portrait in "Snow-Bound," returned to America from her travels in the
+Holy Land at about the time that poem was published, and died the next
+year, 1867. I have from good authority this curious story of her first
+reading of those lines which meant so much in a peculiar way to the
+immortality of her name. She was ill, and called with a prescription at
+a drugstore in Burlington, N. J. It happened that the druggist was a
+personal friend of Whittier's--Mr. Allinson, father of the lad for whom
+the poem "My Namesake" was written. This was in March, 1866, and
+Whittier had just sent his friend an early copy of his now famous poem.
+He had not had time to open the book when the prescription was handed
+him. As it would take considerable time to compound the medicine, he
+asked the aged lady to take a seat, and handed her the book he had just
+received to read while waiting. When he gave her the medicine and she
+returned the book, he noticed she was much perturbed, and was mystified
+by her exclamation: "This book tells a pack of lies about me!" He
+naturally supposed she was crazy, both from her remark and from her
+appearance. It was not until some time later that he learned that his
+customer was Harriet Livermore herself!
+
+In another New Jersey town was living at the same time another of the
+"Snow-Bound" characters,--the teacher of the district school, whose
+name even the poet had forgotten when this sketch of him was written.
+In the last year of his life Whittier recalled that his name was
+Haskell, but could tell me no more, except that he was from Maine, and
+was a Dartmouth student. His story is told in "Life and Letters," and
+is now referred to only to note the curious fact that although he lived
+until 1876, and was a cultivated man who no doubt was familiar with
+Whittier's work, yet he was never aware that he had the poet for a
+pupil, and died without knowing that his own portrait had been drawn by
+the East Haverhill lad with whom he had played in this old kitchen. I
+have this from my friend, John Townsend Trowbridge, who was personally
+acquainted with Haskell in the last years of his life.
+
+It was in 1698, ten years after this house was built, that the Indians
+in a foray upon Haverhill burned many houses and killed or captured
+forty persons, including the heroic Hannah Dustin, in whom they caught
+a veritable tartar. Her statue with uplifted tomahawk stands in front
+of the City Hall. It is possible that on her return to Haverhill she
+brought her ten Indian scalps into this kitchen.
+
+Whittier used to tell many amusing stories of his boyhood days. Here is
+one he heard in the old kitchen of the Whittier homestead at Haverhill,
+as told by the aged pastor of the Congregational church in the
+neighborhood, who used to call upon the Quaker family as if they
+belonged to his parish. These extra-official visits were much prized,
+especially by the boys, for he told them many a tale of his own boyhood
+in Revolutionary times. This story of "the power of figures" I can give
+almost in Whittier's words, as I made notes while he was telling it:
+
+The old clergyman sat by the kitchen fire with his mug of cider and
+told of his college life. He was a poor student, and when he went home
+at vacation time, he tramped the long journey on foot, stopping at
+hospitable farmhouses on the way for refreshment. One evening an old
+farmer invited him in, and as they sat by the fire, after a good
+supper, they talked of the things the student was learning at college.
+At length the farmer suggested:--
+
+"No doubt you know the power of figures?"
+
+The student modestly allowed he had learned something of algebra and
+some branches of the higher mathematics.
+
+[Illustration: HARRIET LIVERMORE[2]]
+
+"I know it! I know it! You are just the man I want to see. You know the
+power of figures! I have lost a cow; now use your power of figures and
+find her for me."
+
+The student disclaimed such power, but it was of no use. The farmer
+insisted that one who knew the power of figures must be able to locate
+his cow. Else, of what use to go to college; why not stay at home and
+find the cows after the manner of the unlearned? So the student decided
+to quiz a little. He took a piece of chalk and drew crazy diagrams on
+the floor. The farmer thought he recognized in the lines the roads and
+fences of the vicinity, rubbed his hands, and exclaimed:--
+
+"You are coming to it! Don't tell me you don't know the power of
+figures!"
+
+At last, when the poor student had exhausted the power of his
+invention, he threw down the chalk, and pointing to the spot where it
+fell, said:--
+
+"Your cow is there!"
+
+He had a good bed, but could not rest easy on it for the thought of how
+he was to get out of the scrape in the morning, when it would be surely
+known that his figures had lied. He decided that he would steal off
+before any of the family had arisen. In the early dawn he was
+congratulating himself upon having got out of the house unobserved,
+when he was met at the gate by the old farmer himself, who was leading
+the cow home in triumph. He had found her exactly where the figures had
+foretold. Of course the mathematician must go back to breakfast--what
+was he running off for, after doing such a service by his learning?
+
+They stood again by the cabalistic diagram on the floor of the kitchen.
+
+"You needn't tell me you don't know the power of figures," exclaimed
+the good man, "for the cow was just there!"
+
+For once, the clergyman said, Satan had done him a good turn.
+
+[Illustration: SCENE ON COUNTRY BROOK]
+
+Nearly all the early letters and poems of Whittier, written before he
+gave up every selfish ambition and devoted his life to philanthropic
+work, show how great was the change that came over his spirit when
+about twenty-five years of age. Before that time he imagined that the
+world was treating him harshly, and he was bracing himself for a
+contest with it, with a feeling that he was surrounded by enemies. His
+tone was almost invariably pessimistic. After the change referred to,
+he habitually saw friends on every side, gave up selfish ambitions, and
+a cheerful optimism pervaded his outlook upon life. The following
+extract from a letter written in April, 1831, while editing the "New
+England Review," to a literary lady in New Haven, is in the prevailing
+tone of what he wrote in the earlier period. This letter has only
+lately come into my possession, and is now first quoted:--
+
+     "Disappointment in a thousand ways has gone over my heart,
+     and left it dust. Yet I still look forward with high
+     anticipations. I have placed the goal of my ambitions
+     high--but with the blessing of God it shall be reached. The
+     world has at last breathed into my bosom a portion of its
+     own bitterness, and I now feel as if I would wrestle
+     manfully in the strife of men. If my life is spared, the
+     world shall know me in a loftier capacity than _as a writer
+     of rhymes_. [The italics are his own.] There--is not that
+     boasting?--But I have said it with a strong pulse and a
+     swelling heart, and I shall strive to realize it."
+
+In another letter, written at about the same time to the same
+correspondent, he says: "As for tears, I have not shed anything of the
+kind since my last flogging under the birchen despotism of the Nadir
+Shah of our village school. I have sometimes wished I _could_ shed
+tears--especially when angry with myself or with the world. There is an
+iron fixedness about my heart on such occasions which I would gladly
+melt away."
+
+From the birthplace to the Amesbury home is a distance of nine miles,
+traversed by electric cars in less than an hour. Midway is the thriving
+village of Merrimac, formerly known as West Amesbury. It was at Birchy
+Meadow in this vicinity that Whittier taught his first and only term of
+district school, in the winter of 1827-28. The road is at considerable
+distance from the Merrimac River, and at several points it surmounts
+hills which afford remarkably fine views of the wide and fertile river
+valley, with occasional glimpses of the river itself. At Pond Hills,
+near the village of Amesbury, the landscape presented to view is one of
+the widest and loveliest in all this region. It is a panorama of the
+beautifully rounded hills peculiar to this section, with a tidal river
+winding among them with many a graceful curve. The electric road we
+have taken is about two miles from the left bank of the river, across
+which we look to the Newbury hills, cultivated to their tops, with here
+and there a church spire indicating the location of the distant
+villages. Every part of this lovely valley has been commemorated in
+Whittier's writings, prose and verse.
+
+[Illustration: THE SYCAMORES]
+
+If, instead of the trolley, we take the carriage road from Haverhill
+along the bank of the river, we soon come to what are left of "the
+sycamores," planted in 1739 by Hugh Tallant, in front of the
+Saltonstall mansion. This mansion is now occupied by the Haverhill
+Historical Society, and most of the famous row of "Occidental
+plane-trees" were cut down many years ago, a sacrifice to street
+improvement. Three of the ancient trees still stand, and will probably
+round out the second century of their existence. They are about eighty
+feet in height, and measure nearly twenty feet around their trunks.
+Under these trees Washington "drew rein," and Whittier repeats the
+legend that he said:--
+
+    "I have seen no prospect fairer
+    In this goodly Eastern land."
+
+About a mile below on the northeasterly side of Millvale, a hill
+picturesquely crowned with pines attracts attention. This is the Ramoth
+Hill immortalized in the lovely poem "My Playmate:"--
+
+    "The pines were dark on Ramoth Hill,
+      Their song was soft and low.
+
+          .     .     .     .     .
+
+    "And still the pines of Ramoth wood
+      Are moaning like the sea,--
+    The moaning of the sea of change
+      Between myself and thee!"
+
+Until recently there has been much doubt as to the location of Ramoth
+Hill, Whittier himself giving no definite answer when asked in regard
+to it. Indeed, the poem as originally written had the title "Eleanor,"
+and the hill was given the name of Menahga. But Mr. J. T. Fields, to
+whom the manuscript was submitted, did not like this name, and Whittier
+changed it to Ramoth, which suited his editor's taste. Mr. Alfred A.
+Ordway, the best authority on all matters pertaining to Whittier's
+allusions to places in this region, has discovered that the name
+Menahga was given to this particular hill in Haverhill by Mrs. Mary S.
+West of Elmwood, one of a family all the members of which were dear to
+Whittier from his boyhood to the close of his life. A letter of
+Whittier's to Mrs. West has come to light, written about the time this
+poem was composed, in which he commends the selection of the name of
+this hill, and intimates that he shall use it in a poem.
+
+On the Country Bridge road, leading from the birthplace to Rocks
+Village, is an ancient edifice, known as the "Old Garrison House,"
+which is of interest to Whittier-Land pilgrims because it was the home
+of Whittier's great-grandmother, Mary Peaslee, who brought Quakerism
+into the Whittier family. Thomas Whittier, the pioneer, did not belong
+to the Society of Friends, though favorably disposed toward the sect.
+His youngest son, Joseph, brought the young Quakeress into the family,
+and their descendants for several generations, down to the time of the
+poet, belonged to the sect founded by her father's friend, George Fox.
+Joseph Peaslee built this house with bricks brought from England before
+1675. As it was one of the largest and strongest houses in the town, in
+the time of King Philip's war it was set apart by the town authorities
+as a house of refuge for the families of the neighborhood, and as a
+rallying point for the troops kept on the scout. There are many
+port-holes through its thick walls.
+
+[Illustration: OLD GARRISON HOUSE (PEASLEE HOUSE)]
+
+A little farther on we come to Rocks Village, pictured so perfectly by
+Whittier in his poem "The Countess," that it will be at once
+recognized:--
+
+    "Over the wooded northern ridge,
+      Between its houses brown,
+    To the dark tunnel of the bridge
+      The street comes straggling down."
+
+The bridge across the Merrimac at this point was a covered and gloomy
+structure at the time this poem was written. It has since been
+partially remodeled, and many of the houses of the "stranded village,"
+then brown and paintless, have received modern improvements. But there
+is enough of antiquity still clinging to the place to make it
+recognizable from Whittier's lines. This was the market to which the
+Whittiers brought much of the produce of their farm to barter for
+household supplies. This was the home of Dr. Elias Weld, the "wise old
+doctor" of "Snow-Bound," and it was to him "The Countess" was
+inscribed--the poem which every year brings many visitors hither, for
+the grave of the Countess is near.
+
+[Illustration: ROCKS VILLAGE AND BRIDGE
+
+Home of the Countess was at further end of the bridge, in house now
+standing, afterward occupied by Whittier's benefactor, Dr. Weld.]
+
+Whittier was still in his teens when this eccentric physician left
+Rocks Village and removed to Hallowell, Maine, and almost half a
+century had intervened before he wrote that remarkable tribute to the
+friend and benefactor of his youth, which is found in the prelude to
+"The Countess." The good old man died at Hudson, Ohio, a few months
+after the publication of the lines that meant so much to his fame, and
+it is pleasant to know that they consoled the last hours of his long
+life. Whittier did not know whether or not the benefactor of his
+boyhood was living in 1863, when he wrote the poem, as is shown in the
+lines:--
+
+    "I know not, Time and Space so intervene,
+    Whether, still waiting with a trust serene,
+    Thou bearest up thy fourscore years and ten,
+    Or, called at last, art now Heaven's citizen."
+
+[Illustration: RIVER VALLEY, NEAR GRAVE OF COUNTESS
+
+    "For, from us, ere the day was done
+    The wooded hills shut out the sun.
+    But on the river's further side
+    We saw the hill-tops glorified."
+              THE RIVER PATH]
+
+[Illustration: DR. ELIAS WELD, AT THE AGE OF NINETY]
+
+And yet they were in correspondence in the previous year, as is shown
+by the fact that I find in an old album of Whittier's a photograph
+labeled by him "Dr. Weld," and this photograph, I am assured by Mrs.
+Tracy, a grandniece of Weld, was taken when he was ninety years of age.
+I think it probable that the sending of this photograph by the aged
+physician put Whittier in mind to write his Rocks Village poem, with
+the tribute of remembrance and affection contained in its prelude. As
+to the ancient sulky which--
+
+                       "Down the village lanes
+    Dragged, like a war-car, captive ills and pains,"
+
+it was a chaise with white canvas top, and the doctor always dressed in
+gray, and drove a sober white horse. I have seen a letter of Whittier's
+written to Dr. Weld, then at Hallowell, in March, 1828, in which he
+says: "I am happy to think that I am not forgotten by those for whom I
+have always entertained the most sincere regard. I recollect perfectly
+well that (on one occasion in particular) after hearing thy animated
+praises of Milton and Thomson I attempted to bring a few words to
+rhyme and measure; but whether it was poetry run mad, or, as Burns
+says, 'something that was rightly neither,' I cannot now ascertain; I
+am certain, however, that it was in a great measure owing to thy
+admiration of those poets that I ventured on that path which their
+memory has hallowed, in pursuit of--I myself hardly know what--time
+alone must determine.... I am a tall, dark-complexioned, and, I am
+sorry to say, rather ordinary-looking fellow, bashful, yet proud as any
+poet should be, and believing with the honest Scotchman that 'I hae
+muckle reason to be thankful that I am as I am.'"[3] It is of interest
+further to state that Whittier's life-long friend and co-laborer in the
+anti-slavery field, Theodore D. Weld, was a nephew of "the wise old
+doctor." Also that another nephew, who was adopted as a son by the
+childless physician, was named "Greenleaf" for the young poet in whom
+he took so much interest. The grave of the Countess in the cemetery
+near Rocks Village is now better cared for than when the poem was
+written. This is not the cemetery referred to in the poem "The Old
+Burying-Ground," which is near the East Haverhill church.
+
+In 1844, Whittier was the Liberty Party candidate for representative to
+the General Court from Amesbury, running against Whig and Democratic
+candidates. A majority vote being required there were five attempts to
+elect, in each of which Whittier steadily gained, and it was at last
+evident he would be elected at the next trial. Whereupon the two
+opposing parties united, and the town voted to have _no_ representative
+for 1845. This was at the time of the agitation against the annexation
+of Texas, and Whittier was very anxious to be elected. Towns then paid
+the salaries of their representatives, and could, if they chose, remain
+unrepresented.
+
+At his last visit to his birthplace, in 1882, Whittier called my
+attention to the millstone which serves as a step at the door of the
+eastern porch, to which reference is made on page 18. It was soon after
+this that he wrote his fine poem "Birchbrook Mill," one stanza of which
+was evidently inspired by noticing this doorstep, and by memories of
+the mill of his ancestors on Fernside Brook, the site of which he had
+so recently visited:
+
+    "The timbers of that mill have fed
+      Long since a farmer's fires;
+    His doorsteps are the stones that ground
+      The harvest of his sires."
+
+
+
+
+AMESBURY
+
+
+
+
+II
+
+AMESBURY
+
+
+Following down the left bank of the river, we come, near the village of
+Amesbury, to a sheltered nook between the steep northern hill and the
+broad winding river, known as "Pleasant Valley." At some points there
+is scant room for the river road between the high bluff and the water;
+at others a wedge of fertile intervale pushes back the steep bank. The
+comfortable houses of an ancient Quaker settlement are perched and
+scattered along this road in picturesque fashion. It was a favorite
+walk of Whittier and his sister, and it is commemorated in "The River
+Path,"--
+
+    "Sudden our pathway turned from night;
+    The hills swung open to the light;
+
+    "Through their green gates the sunshine showed,
+    A long, slant splendor downward flowed.
+
+    "Down glade and glen and bank it rolled;
+    It bridged the shaded stream with gold;
+
+    "And, borne on piers of mist, allied
+    The shadowy with the sunlit side!"
+
+When Mr. Whittier returned to Amesbury from the last visit to his
+birthplace, referred to in the preceding chapter, it was by the road
+passing the Old Garrison House, the Countess' grave, Rocks Village, and
+Pleasant Valley. He pointed out each feature of the scene that reminded
+him of earlier days. When we came to Pleasant Valley, he stopped the
+carriage at a picturesque wooded knoll between the road and the river,
+and said that here he used to come with his sister to gather
+harebells. It was so late in the season that every other flower by the
+roadside had been killed by frost; even the goldenrod was more sere
+than yellow. But the harebells were fresh in their delicate beauty, and
+he gathered a handful of them which lighted up his "garden room" for
+several days. I remember that on this occasion an effect referred to in
+"The River Path" was reproduced most beautifully. The setting sun,
+hidden to us, illuminated the hills of Newbury:--
+
+    "A tender glow, exceeding fair,
+    A dream of day without its glare.
+
+    "With us the damp, the chill, the gloom:
+    With them the sunset's rosy bloom;
+
+    "While dark, through willowy vistas seen,
+    The river rolled in shade between."
+
+To a friend in Brooklyn who inquired in regard to the origin of this
+poem, Mr. Whittier wrote: "The little poem referred to was suggested by
+an evening on the Merrimac River, in company with my dear sister, who
+is no longer with me, having crossed the river (as I fervently hope) to
+the glorified hills of God."
+
+"The Last Walk in Autumn" is another poem inspired by the scenery of
+this locality. At the lower end of this valley, near the mouth of the
+Powow, on the edge of the bluff overlooking the Merrimac, Goody Martin
+lived more than two hundred years ago, and the cellar of her house was
+still to be seen when, in 1857, Whittier first told the story of "The
+Witch's Daughter," the poem now known as "Mabel Martin." She was the
+only woman who suffered death on a charge of witchcraft on the north
+side of the Merrimac. One other aged woman in this village was
+imprisoned, and would have been put to death, but for the timely
+collapse of the persecution. She was the wife of Judge Bradbury, and
+lived on the Salisbury side of the Powow. In his ballad Whittier traces
+the path he used to take towards the Goody Martin place, as was his
+custom in many of his ballads. One who desires to take this path can
+enter upon it at the Union Cemetery, where the poet is buried. Follow
+the "level tableland" he describes towards the Merrimac, looking down
+at the left into the deep and picturesque valley of the Powow,--a
+charming view of its placid, winding course after it has made its
+plunge of eighty feet over a shoulder of Po Hill,--until you
+
+    ... "see the dull plain fall
+    Sheer off, steep-slanted, ploughed by all
+    The seasons' rainfalls,"
+
+and you look down upon the broad Merrimac seeking "the wave-sung
+welcome of the sea." Find a path winding down the bluff facing the
+river, half-way down to the hat factory which is close to the water,
+and you are upon the location of Goody Martin's cottage. But no trace
+is now to be seen of "the cellar, vine overrun" which the poet
+describes.
+
+[Illustration: CURSON'S MILL, ARTICHOKE RIVER]
+
+I visited the spot with the poet on the October day before referred to,
+and noted the felicity of his descriptions of the locality. It is near
+the river, but high above it, and one looks _down_ upon the tops of
+the willows on the bank:--
+
+    "And through the willow-boughs _below_
+    She saw the rippled waters shine."
+
+Opposite Pleasant Valley, on the Newbury side of the river, are "The
+Laurels," "Curson's Mill," and the mouth of the Artichoke, celebrated
+in several poems. In June, when the laurels are in bloom, this shore is
+well worth visiting for its natural beauties, as well as for the
+association of Whittier's frequent allusion to it in prose as well as
+verse. It was for the "Laurel Party," an annual excursion of his
+friends to this shore, that he wrote the poems, "Our River,"
+"Revisited," and "The Laurels." In "June on the Merrimac" he sings:--
+
+    "And here are pictured Artichoke,
+      And Curson's bowery mill;
+    And Pleasant Valley smiles between
+      The river and the hill."
+
+In the stanza preceding this he takes a view down the Merrimac, past
+Moulton's Hill in Newbury,--an eminence commanding one of the finest
+views on the river, formerly crowned with a castle-like structure
+occupied for several years as the summer residence of Sir Edward
+Thornton,--to the great bend the river makes in passing its last rocky
+barrier at Deer Island. The Hawkswood oaks are a magnificent feature of
+the scene. This estate, on the Amesbury side of the river, was formerly
+occupied by Rev. J. C. Fletcher, of Brazilian fame.
+
+    "The Hawkswood oaks, the storm-torn plumes
+      Of old pine-forest kings,
+    Beneath whose century-woven shade
+      Deer Island's mistress sings."
+
+[Illustration: DEER ISLAND AND CHAIN BRIDGE]
+
+The Merrimac, beautiful as are its banks along its entire course,
+nowhere presents more picturesque scenery than where it passes through
+the deep valley it has worn for itself between the hills of Amesbury
+and Newbury, and especially where its tidal current is parted by the
+perpendicular cliffs of Deer Island. At this point the quaint old chain
+bridge, built about a century ago, spans the stream. This island is the
+home of Harriet Prescott Spofford, who is referred to in the stanza
+just quoted. About forty years ago, it was proposed to build a summer
+hotel on this island, which is four or five miles from the mouth of the
+Merrimac. I have found among Mr. Whittier's papers an unfinished poem,
+protesting against what he considered a desecration of this spot which
+always had a great charm for him. It is likely that the reason why this
+poem was never finished or published was because the project of
+building a hotel was abandoned. I have taken the liberty to give as a
+title for it "The Plaint of the Merrimac." As it was written in almost
+undecipherable hieroglyphics, some of the words are conjectural:--
+
+    "I heard, methought, a murmur faint,
+    Our River making its complaint;
+    Complaining in its liquid way,
+    Thus it said, or seemed to say:
+
+    "'What 's all this pother on my banks--
+    Squinting eyes and pacing shanks--
+    Peeping, running, left and right,
+    With compass and theodolite?
+
+    "'Would they spoil this sacred place?
+    Blotch with paint its virgin face?
+    Do they--is it possible--
+    Do they dream of a hotel?
+
+    "'Match against my moonlight keen
+    Their tallow dip and kerosene?
+    Match their low walls, plaster-spread,
+    With my blue dome overhead?
+
+    "'Bring their hotel din and smell
+    Where my sweet winds blow so well,
+    And my birches dance and swing,
+    While my pines above them sing?
+
+    "'This puny mischief has its day,
+    But Nature's patient tasks alway
+    Begin where Art and Fashion stopped,
+    O'ergrow, and conquer, and adopt.
+
+    "'Still far as now my tide shall flow,
+    While age on age shall come and go,
+    Nor lack, through all the coming days,
+    The grateful song of human praise.'"
+
+Before the chain bridge was built, a ferry was maintained at the mouth
+of the Powow, and here Washington crossed the river at his last visit
+to New England. It is said that a French ship lay at the wharf near the
+ferry, and displayed the French flag over the American because of the
+French feeling against the policy of Washington's administration.
+Washington refused to land until the obnoxious flag was lowered to its
+proper place.
+
+It was a one-story cottage on Friend Street, Amesbury, to which the
+Whittiers came in July, 1836--a cottage with but four rooms on the
+ground floor, and a chamber in the attic. The sum paid for this
+cottage, with about an acre of land, was twelve hundred dollars. The
+Haverhill farm was sold for three thousand dollars. Accustomed to the
+comparatively large ancestral home at Haverhill, it is no wonder that
+there was at first a feeling of homesickness, as is evidenced in the
+diary kept by Elizabeth. This feeling was naturally intensified by the
+prolonged absences of her brother, who from 1836 to 1840 was away from
+home most of the time, engaged with his duties as secretary of the
+anti-slavery society in New York, and as editor of the "Pennsylvania
+Freeman" in Philadelphia. During these years, the only occupants of the
+cottage were Whittier's mother, his sister Elizabeth, and his aunt
+Mercy, except when his frequent illnesses, and his interest in the
+political events of the North Essex congressional district, called him
+home. But in 1840, his residence in Amesbury became permanent. At about
+this time he made the tour of the country with the English
+philanthropist, Joseph Sturge, who noticed his straitened
+circumstances, and out of the largeness of his heart, in a most
+delicate way, not only gave him financial assistance at the time, but
+seven years later enabled him to build a two-story ell to the cottage,
+and add a story to the eastern half of the original structure. A small
+ell of one story, occupying part of the space of the present "garden
+room," was built by Mr. Whittier when he bought the cottage in 1836,
+and this was aunt Mercy's room. At the later enlargement of the house
+this small room was lengthened, and a chamber built over it. In the
+lower floor of this enlarged ell is the room which has ever since been
+known as the "garden room," because it was built into the garden, and a
+much prized fruit tree was sacrificed to give it place. The chamber
+over this room was occupied by Elizabeth until her death in 1864, and
+after that by Mr. Whittier.
+
+[Illustration: THE WHITTIER HOME, AMESBURY]
+
+While repairs were making in this part of the house in the summer of
+1903, a package of old letters was found in the wall, bearing the date
+of 1847, the year when the enlargement was made. One of them reveals
+the source of the money required for the improvement. It was from Lewis
+Tappan of New York, the financial backbone of the anti-slavery society,
+inclosing a check for arrears of salary due Whittier for editorial
+work. Mr. Tappan writes: "I will ask the executive committee to raise
+the compensation. I wish we could pay you according to the real value
+of your productions, rather than according to their length.... Inclosed
+is a check for one hundred dollars. Mr. Sturge authorizes me to draw on
+him for one thousand dollars at any time when you and I should think it
+could be judiciously invested in real estate for your family. I can
+procure the money in a week by drawing on him. When you have made up
+your mind as to the investment, please let me know."
+
+At this time the poet was feeling the pinch of real poverty and was
+living in a little one-story cottage that gave him no room for a study,
+and no suitable chamber for a guest. It was at this time that he
+received the letter which contained not only a check for overdue
+salary, but a promise of a gift of one thousand dollars from his
+generous English friend, Joseph Sturge. The result of this beneficence
+was the building of the "garden room," to which thousands of visitors
+come from all parts of this and other countries, because in it were
+written "Snow-Bound," "The Eternal Goodness," and most of the poems of
+Whittier's middle life and old age. Mr. Sturge had sent Whittier six
+years earlier a draft for one thousand dollars, intending it should be
+used by him in traveling for his health. But Whittier had given most of
+this toward the support of an anti-slavery paper in New York. Two years
+later the same generous friend offered to pay all his expenses if he
+would come to England as his guest, an offer he was obliged to decline.
+A portrait of Sturge is appropriately placed in this room. Tappan's
+letter was written April 21, 1847, and the addition to the cottage was
+built in the summer of that year. The whole expense of the improvement
+was no doubt covered by Sturge's gift. Other interesting letters of the
+same period were included in the package in the wall.
+
+[Illustration: JOSEPH STURGE, THE ENGLISH PHILANTHROPIST
+
+    "The very gentlest of all human natures
+    He joined to courage strong."
+        IN REMEMBRANCE OF JOSEPH STURGE]
+
+In a drawer of the desk is a most remarkable album of autographs of
+public men, presented to Mr. Whittier on his eightieth birthday, by the
+Essex Club. It is a tribute to the poet signed by every member of the
+United States Senate and House of Representatives, the Supreme Court of
+the United States, the Governor, ex-Governors, and Supreme Court of
+Massachusetts, and all the members of the Essex Club; also, many
+distinguished citizens, such as George Bancroft (who adds to his
+autograph "with special good wishes to the coming octogenarian"),
+Robert C. Winthrop, Frederick Douglass, and J. G. Blaine. An eloquent
+speech of Senator Hoar, who suggested this unique tribute, is engrossed
+in the exquisite penmanship of a colored man, to whom was intrusted the
+ornamental pen-work of the whole volume. The congressional signatures
+were obtained by Congressman Coggswell of the Essex district. It is
+noticeable that no Southern member declined to sign this tribute to one
+so identified with the anti-slavery movement.
+
+The "garden room" remains almost precisely as when occupied by the
+poet--the same chairs, open stove, books, pictures, and even wall-paper
+and carpet, remaining in it as he placed them. In the north window the
+flowers pressed between the plates of glass are those on receipt of
+which he wrote "The Pressed Gentian." By the desk is the cane he
+carried for more than fifty years, made of wood from his office in
+Pennsylvania Hall, burned by a pro-slavery mob in 1838. This is the
+cane for which he wrote the poem "The Relic:"--
+
+    "And even this relic from thy shrine,
+      O holy Freedom! hath to me
+    A potent power, a voice and sign
+      To testify of thee;
+    And, grasping it, methinks I feel
+    A deeper faith, a stronger zeal."
+
+[Illustration: THE "GARDEN ROOM," AMESBURY HOME]
+
+He had many canes given him, some valuable, but this plain stick was
+the only one he ever carried. With this cane may be seen one made of
+oak from the cottage of Barbara Frietchie--not, as was erroneously
+stated in the biography, a cane carried by the patriotic Barbara. The
+portraits he hung in this room are of Garrison, Thomas Starr King,
+Emerson, Longfellow, Sturge, "Chinese" Gordon, and Matthew Franklin
+Whittier. There is also a fine picture of his birthplace, a water-color
+sent him by Bayard Taylor from the most northern point in Norway, and a
+picture, also sent by Bayard Taylor, of the Rock in El Ghor, on receipt
+of which the poem of that title was written. The Norway picture was
+painted by Mrs. Taylor, and represents the surroundings of the
+northernmost church in the world. The mirror in this room is an
+heirloom of the Whittier family, dating at least a century before the
+birth of the poet. The little table under it is almost equally old.
+
+The album containing the likeness of Dr. Weld has also a photograph
+under which Whittier has written "Mary E. S. Thomas," and this has a
+special interest, as it is a portrait of his relative, schoolmate, and
+life-long friend, Mary Emerson Smith, who became the wife of Judge
+Thomas of Covington, Ky. She was a granddaughter of Captain Nehemiah
+Emerson, who fought at Bunker Hill, was an officer in the army of
+Washington, serving at Valley Forge and at the surrender of Burgoyne,
+and her grandmother was Mary Whittier--a cousin of the poet's father,
+whom Whittier used to call "aunt Mary." For a time, when in his teens,
+he stayed at Captain Emerson's, and went to school from there, making
+himself useful in doing chores. Mary Smith, then a young girl, passed
+much of her time at her grandfather's, and later was a fellow-student
+of Whittier's at the Academy. I think there is now no impropriety in
+stating that it is to her that the poem "Memories" refers.[4] She was
+living at the time when the biography of Whittier was written, and for
+that reason her name was not given, but only a veiled reference in
+"Life and Letters," as at page 276. During many years of her widowhood
+she spent the summer months in New England, and occasionally met Mr.
+Whittier at the mountains. They were in friendly correspondence to the
+close of his life. She survived him several years. It has been
+suggested with some show of probability that it is a memory of the days
+they spent together at her grandfather's that is embodied in the poem
+"My Playmate." At the time when this poem was written she was living in
+Kentucky.
+
+    "She lives where all the golden year
+      Her summer roses blow;
+    The dusky children of the sun
+      Before her come and go."
+
+But this poem, like others of Whittier's, is probably a composite of
+memories and largely imaginative, as is shown in what is elsewhere said
+about the localities of Ramoth Hill and Folly Mill.
+
+[Illustration: MARY EMERSON (SMITH) THOMAS]
+
+[Illustration: EVELINA BRAY, AT THE AGE OF SEVENTEEN]
+
+In the "garden room" also is a miniature on ivory of a beautiful girl
+of seventeen, crowned with roses. This is Evelina Bray of Marblehead, a
+classmate of Whittier's at the Academy in the year 1827, when this
+portrait was painted. But for adverse circumstances, the school
+acquaintance which led to a warm attachment between them might have
+resulted in marriage. But the case was hopeless from the first. He was
+but nineteen years old, and she seventeen. On both sides the families
+opposed the match. Among the Quakers marriage "outside of society" was
+not to be thought of in those days; in his case it would mean the
+breaking up of a family circle dependent on him, and a severance from
+his loved mother and sister. This same reason prevented the ripening of
+other attachments in later life; for in each case his choice would
+have been "out of society." Two or three years after they parted at the
+close of an Academy term, he walked from Salem to Marblehead before
+breakfast on a June morning, to see his schoolmate. He was then editing
+the "American Manufacturer," in Boston. She could not invite him in,
+and they walked to the old ruined fort, and sat on the rocks
+overlooking the beautiful harbor. This meeting is commemorated in three
+stanzas of one of the loveliest of his poems, "A Sea Dream"--a poem, by
+the way, not as a whole referring to Marblehead or to the friend of his
+youth. But I have good authority for the statement that these three
+stanzas refer directly to the Marblehead incident. All who are familiar
+with the locality will recognize it in these verses:--
+
+[Illustration: WHITTIER, AT THE AGE OF TWENTY-TWO]
+
+    "The waves are glad in breeze and sun,
+      The rocks are fringed with foam;
+    I walk once more a haunted shore,
+      A stranger, yet at home,
+      A land of dreams I roam.
+
+    "Is this the wind, the soft sea-wind
+      That stirred thy locks of brown?
+    Are these the rocks whose mosses knew
+      The trail of thy light gown,
+      Where boy and girl sat down?
+
+    "I see the gray fort's broken wall,
+      The boats that rock below;
+    And, out at sea, the passing sails
+      We saw so long ago
+      Rose-red in morning's glow."
+
+With a single exception, these schoolmates did not meet again for more
+than fifty years, and Whittier was never aware of this exception. In
+middle life, when the poet was editing the "Pennsylvania Freeman," and
+Miss Bray was engaged with Catherine Beecher in educational work, they
+once happened to sit side by side in the pew of a Philadelphia church,
+but he left without recognizing her, and she was too shy to speak to
+him. I had the story from a lady who as a little girl sat in the pew
+with them, and knew them both. Miss Bray married an Englishman named
+Downey, and in a romantic way[5] Mr. Whittier discovered her address.
+Mr. Downey was an evangelist making a crusade in the great cities
+against Romanism, and met his death from wounds received in facing a
+New York mob. Whittier, supposing he was poor, and that his schoolmate
+was having a hard time, sent Downey money without her knowledge. She
+accidentally discovered this and returned the money. In her widowhood
+she occasionally corresponded with Mr. Whittier, who induced her to
+come to the reunion of his schoolmates in 1885, more than fifty years
+after their parting at Marblehead, and more than forty years after the
+chance meeting in Philadelphia. At this reunion she gave him the
+miniature reproduced in our engraving, which was returned to her after
+Whittier's death. When she died it went to another schoolmate, the wife
+of Rev. Dr. S. F. Smith, author of our national hymn. From her it came
+to Whittier's niece, and is now kept in the drawer where the poet
+originally placed it. With it is the first portrait ever taken of
+Whittier--it being painted by the same artist (J. S. Porter) two or
+three years after the girl's miniature, while he was editing the
+"Manufacturer."
+
+[Illustration: EVELINA BRAY DOWNEY]
+
+Here is an extract from a note Whittier sent Mrs. Downey soon after the
+reunion: "Let me thank thee for the picture thee so kindly left with
+me. The sweet, lovely girl face takes me back to the dear old days, as
+I look at it. I wish I could give thee something half as valuable in
+return." The portrait of Mrs. Downey at the age of eighty, here given,
+is from a photograph she contributed to an album presented to Whittier
+by his schoolmates of 1827, after the reunion of 1885. Rev. Dr. S. F.
+Smith attended this reunion in place of his wife, who was then an
+invalid, and he wrote to his wife this account of the appearance of her
+old schoolmate at that meeting: "She looked, O so _distingue_, in black
+silk, with a white muslin veil, reaching over the silver head and down
+below the shoulders. Just as if she were a Romish Madonna, who had
+stepped out from an old church painting to hold an hour's communion
+with earth."
+
+I was in correspondence with Mrs. Downey during the last years of her
+life, but she would not give me permission to call upon her, and the
+reason given was that I had seen the miniature, and she preferred to be
+remembered by that. She was very shy about telling of her early
+acquaintance with Whittier, and whatever I could learn was by
+indirection. For instance, I obtained the Marblehead story by her
+sending me a copy of Whittier's poems which he had given her, and she
+had drawn a line around the stanzas quoted above. No word accompanied
+the book. Of course I guessed what she meant, and asked if my guess was
+correct. She replied "Yes," and no more. Whittier said he had the
+Captain Ireson story from a schoolmate who came from Marblehead. I
+asked her if she, as the only Marblehead schoolmate, was the person
+referred to, and received an emphatic "No." To an intimate friend she
+once said that during her early acquaintance with Whittier it seemed as
+if the devil kept whispering to her, "He is only a shoemaker!"
+
+The apartment now used as a reception room was the kitchen of the
+original cottage, and has the large fireplace and brick oven that were
+universal in houses built a century ago. A small kitchen was later
+built as an ell, and this central room became the dining room,
+remaining so as long as Mr. Whittier lived. In the reception room is a
+large bookcase filled with a part of the poet's library, exactly as
+when he was living here. His books overrun all the rooms in the house,
+and many are packed in closets. The large engraving of Lincoln over the
+mantel is an artist's proof, and was placed there by Whittier forty
+years ago. An ancient mirror in this room, surmounted by a gilt eagle,
+was broken by a lightning stroke in September, 1872. The track of the
+electrical current may still be seen in the blackening of a gilt
+moulding in the upper left corner. The broken glass fell over a member
+of the family sitting under it, and Whittier himself, who was standing
+near the door of the "garden room," was thrown to the floor. All in the
+house were stunned and remained deafened for several minutes, but no
+one was seriously injured. Up to that time the house had been protected
+by lightning rods; but Mr. Whittier now had them removed, and refused
+to have them replaced, though much solicited by agents. In revenge, one
+of the persistent brotherhood issued a circular having a picture of
+this house with a thunderbolt descending upon it, as an awful warning
+against neglect! He had the impudence to emphasize his fulmination by
+printing a portrait of the poet, who, it was intimated, would yet be
+punished for defying the elements.
+
+The old parlor, the principal room of the original cottage, has
+suffered no change in the several remodelings of the house. The beams
+in the corners show a frame of the olden style--for the cottage had
+been built many years when the Whittiers came here. The clear pine
+boards in the dado are two feet in width. In this room are placed many
+memorials of the poet of interest to visitors. What to him was the most
+precious thing in the house is the portrait of his mother over the
+mantel--a work of art that holds the attention of the most casual
+visitor. The likeness to her distinguished son is remarked by all. One
+sees strength of character in the beautiful face, and a dignity that is
+softened by sweetness and serenity of spirit. The plain lace cap, white
+kerchief, drab shawl, and folded hands typify all the Quaker virtues
+that were preeminently hers.
+
+On the opposite wall is the crayon likeness of Elizabeth, the dearly
+loved sister, so tenderly apostrophized in "Snow-Bound:"--
+
+    "I cannot feel that thou art far,
+    Since near at need the angels are;
+    And when the sunset gates unbar,
+      Shall I not see thee waiting stand,
+    And, white against the evening star,
+      The welcome of thy beckoning hand?"
+
+When she died, in 1864, her friend, Lucy Larcom, had this excellent
+portrait made and presented it to the bereaved brother, and it has hung
+on this wall nearly forty years. All the other members of the
+"Snow-Bound" family are here represented by portraits, except the
+father and uncle Moses, of whom no likenesses exist, save as found in
+the poet's lines. The Hoit portrait of Whittier, painted when he was
+about forty years of age, was kept out of sight in a seldom-used
+chamber, while the poet was living, for he allowed no picture of
+himself to be prominently displayed. The portrait of his brother was
+painted when he was about forty years of age. A small photograph of his
+older sister, Mary Caldwell, is shown, and a silhouette of aunt Mercy;
+also a portrait of his brother's daughter, Elizabeth (Mrs. Pickard),
+who was a member of his household for twenty years, and to whom he left
+this house and its contents by his will. Her son Greenleaf, to whom
+when four years of age his granduncle inscribed the poem "A Name," now
+resides here.
+
+[Illustration: MRS. PICKARD]
+
+In this parlor is the desk on which "Snow-Bound" was written, also "The
+Tent on the Beach" and other poems of this period. The success of
+these poems enabled him to buy a somewhat better desk, now to be seen
+in the "garden room," where this desk formerly stood. In this desk are
+presentation copies of many books, with the autographs of their
+authors--Harriet Beecher Stowe, Lydia Maria Child, Miss Mitford, Julia
+Ward Howe, John Hay, T. B. Aldrich, and others. Here also is the diary
+kept by Elizabeth Whittier, in the years 1835-37, covering the period
+of the removal from Haverhill to Amesbury. Of antiquarian interest is
+an account-book of the Whittier family, from 1786 to 1800, going into
+minute details of household expenses, and containing many times
+repeated the autographs of Whittier's grandfather, his father, and his
+uncles Moses and Obadiah, who recorded their annual settlements of
+accounts in this book. Near the desk are bound volumes of papers
+edited by Whittier--the "New England Review" of 1830, the "Pennsylvania
+Freeman" of 1840, and the "National Era" of 1847-50. These contain much
+of his prose and verse never collected. The Rogers group of statuary
+representing Whittier, Beecher, and Garrison listening to the story of
+a fugitive slave girl, who holds an infant in her arms, is in the
+corner of the room, where it has been for about thirty years. The
+garden, in the care of which Mr. Whittier took much pleasure, comprises
+about one half acre of land. He had peach, apple, and pear trees--but
+the peaches gave out and were not renewed. He also raised grapes,
+quinces, and small fruit in abundance. The rosebush he prized as his
+mother's favorite is still flourishing, as are also the fine magnolia,
+laburnum, and cut-leaved birch of his planting. The ash tree in front
+of the house was planted by his mother.
+
+While gathering grapes in an arbor in this garden, in 1847, Mr.
+Whittier received a bullet wound in the cheek. Two boys were firing at
+a mark on the grounds of a neighbor, and this mark was near where
+Whittier stood, but on account of a high fence they did not see him.
+When the bullet struck him, he was so concerned lest his mother should
+be alarmed by the accident that he said nothing, not even notifying the
+boys. He bound up his bleeding face in a handkerchief and called on Dr.
+Sparhawk, who lived near. As soon as the wound was dressed, he came
+home and gave his family their first notice of the accident. The boys
+had not then learned the result of their carelessness. The lad who
+fired the gun was named Philip Butler, and he has since acquired a high
+reputation as an artist. The painting representing the Haverhill
+homestead which is to be seen at the birthplace was executed by this
+artist. He tells of the kindness with which Whittier received his
+tearful confession. It was during the first days of the Mexican war,
+and some of the papers humorously commented upon it as a singular fact
+that the first blood drawn was from the veins of a Quaker who had so
+actively opposed entering upon that war.
+
+[Illustration: SCENE IN GARDEN, AT WHITTIER'S FUNERAL]
+
+Once while his guest at Amesbury, I went with him to town meeting. He
+was one of the first men in the town to vote that morning, and after
+voting spent an hour talking politics with his townsmen. General C.,
+his candidate for Congress, had been intemperate, and the temperance
+men were making that excuse for voting in favor of Colonel F., who,
+Whittier said, always drank twice as much as C., but was harder headed
+and stood it better. Other candidates were being scratched for reasons
+as flimsy, and our Grand Old Man was getting disgusted with the Grand
+Old Party, as represented at that meeting. He said to a friend he met,
+"The Republicans are scratching like wild cats." In the evening an old
+friend and neighbor called on him, and was complaining of Blaine and
+other party leaders. At last Mr. Whittier said, "Friend Turner, has
+thee met many angels and saints in thy dealings with either of the
+parties? Thy experience should teach thee not to expect too much of
+human nature." On the same evening he told of a call Mr. Blaine made
+upon him some time previously. The charm of his manner, he said,
+recalled that of Henry Clay, as he remembered him. On that occasion
+Blaine made a suggestion for the improvement of a verse in the poem
+"Among the Hills," which Whittier adopted. The verse is descriptive of
+a country maiden, who was said to be
+
+    "Not beautiful in curve and line."
+
+Blaine suggested as an amendment,--
+
+    "Not _fair alone_ in curve and line;"
+
+and this is the reading in the latest editions.
+
+[Illustration: THE FERRY, SALISBURY POINT
+
+Mouth of Powow in foreground at the right hidden by its own banks in
+this picture. Hawkswood in distance at extreme right.]
+
+Thomas Wentworth Higginson, during his residence in Newburyport, was
+often a guest at the Amesbury home, and he has this to say of each
+member of the family: "The three members of the family formed a perfect
+combination of wholly varying temperaments. Mrs. Whittier was placid,
+strong, sensible, an exquisite housekeeper and 'provider;' it seems to
+me that I have since seen no whiteness to be compared to the snow of
+her table-cloths and napkins. But her soul was of the same hue; and all
+worldly conditions and all the fame of her children--for Elizabeth
+Whittier then shared the fame--were to her wholly subordinate things,
+to be taken as the Lord gave. On one point only this blameless soul
+seemed to have a shadow of solicitude, this being the new wonder of
+Spiritualism, just dawning on the world. I never went to the house that
+there did not come from the gentle lady, very soon, a placid inquiry
+from behind her knitting-needles, 'Has thee any farther information to
+give in regard to the spiritual communications, as they call them?' But
+if I attempted to treat seriously a matter which then, as now, puzzled
+most inquirers by its perplexing details, there would come some keen
+thrust from Elizabeth Whittier which would throw all serious solution
+further off than ever. She was indeed a brilliant person, unsurpassed
+in my memory for the light cavalry charges of wit; as unlike her mother
+and brother as if she had been born into a different race. Instead of
+his regular features she had a wild, bird-like look, with prominent
+nose and large liquid dark eyes, whose expression vibrated every
+instant between melting softness and impetuous wit; there was nothing
+about her that was not sweet and kindly, but you were constantly taxed
+to keep up with her sallies and hold your own; while her graver brother
+listened with delighted admiration, and rubbed his hands over bits of
+merry sarcasm which were utterly alien to his own vein."
+
+[Illustration: POWOW RIVER AND PO HILL]
+
+The village of Amesbury enjoyed a sense of proprietorship in Whittier
+which it never lost, even when Danvers claimed him for a part of each
+year. He did not give up the old house, consecrated by memories of his
+mother and sister, but returned to it oftener and oftener in his last
+years, and he hoped that he might spend his last days on earth where
+his mother and sister died. The feeling of the people of Amesbury was
+expressed in a poem written by a neighbor, and published in the village
+paper, under the title of "Ours," some stanzas of which are here
+given:--
+
+    "I say it softly to myself,
+      I whisper to the swaying flowers.
+    When he goes by, ring all your bells
+      Of perfume, ring, for he is ours.
+
+    "Ours is the resolute, firm step,
+      Ours the dark lightning of the eye,
+    The rare sweet smile, and all the joy
+      Of ownership, when he goes by.
+
+          .     .     .     .     .
+
+    "I know above our simple spheres
+      His fame has flown, his genius towers;
+    These are for glory and the world.
+     But he himself is only ours."
+
+[Illustration: FRIENDS' MEETING-HOUSE AT AMESBURY]
+
+The Friends' meeting-house, in 1836, was nearly opposite the Whittier
+cottage, on the site of the present French Catholic church. Two
+centuries ago there had been an earlier meeting-house of the Society,
+also on Friend Street, and the name of the street was given on this
+account. The present meeting-house, on the same street, was built in
+1851, upon plans made by Mr. Whittier, who was chairman of the
+committee having it in charge. He once told me that some conservative
+Friends were worried lest he make the house too ornate. To satisfy
+them, he employed three venerable carpenters, one of them a Quaker
+minister and the other two elders of the Society, and the result was
+this perfectly plain, neat structure, comfortable in all its
+appointments. Visitors like to find the seat usually occupied by
+Whittier. It is now marked by a silver plate. I have accompanied him to
+a First Day service here, in which for a half hour no one was moved to
+say a word. And this was the kind of service he much preferred to one
+in which the time was "fully occupied." The meeting was dismissed
+without a spoken word, the signal being the shaking of hands by two of
+the elders on the "facing seats." Then each worshiper shook the hand of
+the person next him. There was no sudden separation. The company formed
+itself into groups for a pleasant social reunion. In the group that
+surrounded Whittier were ten or twelve octogenarians, whom he told me
+he had met in this way almost every week since his boyhood; for even
+when living in Haverhill, this was the meeting his family attended. It
+was delightful to see the warmth and tenderness of the greetings of
+these venerable life-long friends. I once accompanied him to a
+devotional meeting, where many of the leading Friends of the Society
+were present, and as the papers had announced the names of several
+speakers from distant States, he expressed the fear that there would be
+no opportunity to get "into the quiet." As the speakers followed each
+other in rapid succession, he asked me if I had a bit of paper and a
+pencil with me. Then he appeared to be taking notes of the proceedings.
+I fancied some of the speakers noticed his pencil, and were spurred by
+it to an enlargement of utterance. When we were at home, I asked what
+he had written. He smiled and handed me his "notes," which are before
+me as I write. "Man spoke," "Woman sang," "Man prayed," and so on for
+no less than fourteen items. Being slightly deaf, he had heard scarcely
+anything, and had been noting the number and variety of the
+performances. It was his protest against much speaking. At dinner the
+same day, his cousin, Joseph Cartland, commented upon the inarticulate
+sounds that accompanied the remarks of one or two of the speakers. "Let
+us shame them out of it," he said, "let's call it grunting." "Oh, no,
+Joseph," said Whittier, "don't thee do that--take away the grunt, and
+nothing is left!"
+
+[Illustration: INTERIOR OF FRIENDS' MEETING-HOUSE
+
+Whittier's usual seat marked, on left side, near "facing seats."]
+
+Mr. Whittier had many wonderful stories illustrating the guidance of
+the spirit to which members of the Society of Friends submitted in the
+daily intercourse of life. One was of an aged Friend, who never failed
+to attend meeting on First Day. But one morning he told his wife that
+he was impelled to take a walk instead of going to meeting, and he knew
+not whither he should go. He went into the country some distance and
+came to a lane which led to a house. He was impressed to take this
+lane, and soon reached a house where a funeral service was in progress.
+At the close of the service he arose, and said that he knew nothing of
+the circumstances connected with the death of the young woman lying in
+the casket, but he was impelled to say that she had been accused of
+something of which she was not guilty, and the false accusation had
+hastened her death. Then he added that there was a person in the room
+who knew she was not guilty, and called upon this person, whoever it
+might be, to vindicate the character of the deceased. After a solemn
+pause, a woman arose and confessed she had slandered the dead girl. In
+telling such stories as this, Mr. Whittier did not usually express full
+and unreserved belief in their truth, but he maintained the attitude of
+readiness to believe anything of this kind which was well
+authenticated, and he approved of the methods of work adopted by the
+Society for Psychical Research in England and in this country.
+
+[Illustration: CAPTAIN'S WELL]
+
+The hills encircling the lovely valley of the short and busy Powow
+River, beginning with the southwestern extremity of the amphitheatre,
+are: Bailey's, on the declivity of which, overlooking the Merrimac, is
+the site of Goody Martin's cottage, the scene of the poem of "Mabel
+Martin;" next is the ridge on which is the Union Cemetery where
+Whittier is buried; then Whittier Hill, named not for the poet but for
+his first American ancestor who settled here, and locally called
+"Whitcher Hill"--showing the ancient pronunciation of the name; then,
+across the Powow, are Po, Mundy, Brown's, and Rocky hills. On a lower
+terrace of the Union Cemetery ridge, and near the cemetery, is the Macy
+house, built before 1654 by Thomas Macy, first town clerk of Amesbury
+(and ancestor of Edwin M. Stanton, the great war secretary), who was
+driven from the town for harboring a proscribed Quaker in 1659, as told
+in the poem "The Exiles;"[6] also, the birthplace of Josiah Bartlett,
+first signer of the Declaration of Independence after Hancock, whose
+statue, given by Jacob R. Huntington, a public-spirited citizen of
+Amesbury, stands in Huntington Square; and near by is "The Captain's
+Well," dug by Valentine Bagley in pursuance of a vow, as told in
+Whittier's poem; also the Home for Aged Women, for which Whittier left
+by his will nearly $10,000. It is to a view of Newburyport as seen from
+Whittier Hill, a distance of five miles, that the opening lines of "The
+Preacher" refer:--
+
+    "Far down the vale, my friend and I
+      Beheld the old and quiet town;
+    The ghostly sails that out at sea
+    Flapped their white wings of mystery;
+    The beaches glimmering in the sun,
+    And the low wooded capes that run
+    Into the sea-mist north and south;
+    The sand-bluffs at the river's mouth;
+    The swinging chain-bridge, and, afar,
+    The foam line of the harbor-bar."
+
+The cemetery in which Whittier is buried can be reached by either the
+electric line from Merrimac, or the one from Newburyport--the latter
+approaching nearest the part in which is the Whittier lot. This lot is
+in the section reserved for the Society of Friends, and is surrounded
+by a well-kept hedge of arbor vitae. Here is buried each member of the
+family commemorated in the poem "Snow-Bound," and also the niece of the
+poet, who was for twenty years a member of his household. There is a
+row of nine plain marble tablets, much alike, with Whittier's slightly
+the largest. At the corner where his brother is buried is a tall cedar,
+and at the foot of his own grave is another symmetrical tree of the
+same kind. Between him and his brother lie their father and mother,
+their two sisters, their uncle Moses and aunt Mercy. His niece,
+daughter of his brother, has a place by his side. Inclosed by the same
+hedge is the burial lot of his dearly-loved cousin, Joseph Cartland.
+For those who take note of dates it may be said that his father died in
+1830, and not, as stated on his headstone, one year later.
+
+[Illustration: WHITTIER LOT, UNION CEMETERY, AMESBURY]
+
+Po Hill, originally called Powow, because of the tradition that the
+Indians used to hold their powwows upon its summit, is three hundred
+and thirty-two feet high, and commands a view so extended that many
+visitors make the ascent. One of Whittier's early prose legends is of a
+bewitched Yankee whose runaway horse took him to the top of this hill
+into a midnight powwow of Indian ghosts. In describing the hill he
+says: "It is a landmark to the skippers of the coasting craft that sail
+up Newburyport harbor, and strikes the eye by its abrupt elevation and
+orbicular shape, the outlines being as regular as if struck off by the
+sweep of a compass." From it in a clear day may be seen Mount
+Washington, ninety-eight miles away; the Ossipee range; Passaconaway;
+Whiteface; Kearsarge in Warner; Monadnock; Wachusett; Agamenticus and
+Bonny Beag in Maine; the Isles of Shoals with White Island light; Boon
+Island in Maine; and nearer at hand Newburyport with its harbor and
+bay; Plum Island; Cape Ann; Salisbury and Hampton beaches; Boar's Head
+and Little Boar's Head; Crane Neck and many other of the beautiful
+hills of Newbury, Rowley, Ipswich, and Danvers. The view of Cape Ann as
+seen from Po Hill is referred to by Whittier at the opening of the poem
+"The Garrison of Cape Ann:"--
+
+    "From the hills of home forth looking, far beneath the tent-like span
+    Of the sky, I see the white gleam of the headland of Cape Ann."
+
+Down the south side of the Po flows the Powow River in a series of
+cascades, the finest of which are now hidden by the mills, or arched
+over by the main street of the village of Amesbury. The hill is
+celebrated in several of Whittier's poems, including "Abram Morrison,"
+"Miriam," and "Cobbler Keezar's Vision." The Powow, a little way above
+its plunge over the rocks where it gives power for the mills, flows in
+front of the Whittier home, and but the width of a block distant. The
+surface of its swift current is but a few feet below the level of
+Friend Street. Po Hill rises steeply from its left bank. The Powow is
+mentioned in the poem "The Fountain:"--
+
+    "Where the birch canoe had glided
+      Down the swift Powow,
+    Dark and gloomy bridges strided
+      Those clear waters now;
+    And where once the beaver swam,
+    Jarred the wheel and frowned the dam."
+
+
+[Illustration: THE FOUNTAIN, ON MUNDY HILL]
+
+"The Fountain" is a spring that may be found on the western side of
+Mundy Hill. The oak mentioned in this poem is gone, and a willow takes
+its place. The Rocky Hill meeting-house is well worth the attention of
+visitors, as a well-preserved specimen of the meeting-houses of the
+olden time. Its pulpit, pews, and galleries retain their original form
+as when built in 1785. It is situated on the easternmost of the fine
+circlet of hills that incloses the valley of the Powow. This hill is
+well named, for here the melting glaciers left their most abundant
+deposit of boulders. A trolley line from Amesbury to Salisbury Beach
+passes this venerable edifice.
+
+[Illustration: ROCKY HILL CHURCH, BUILT IN 1785]
+
+Salisbury Beach, now covered with summer cottages, will hardly be
+recognized as the place described by Whittier in his "Tent on the
+Beach." When that poem was written, not one of these hundreds of
+cottages was built, and those who encamped here brought tents. Hampton
+Beach is a continuation of Salisbury Beach beyond the state line into
+New Hampshire. It has given its name to one of the most notable of
+Whittier's poems, and several ballads refer to it. "The Wreck of
+Rivermouth" has for its scene the mouth of the Hampton River, which,
+winding down from the uplands across salt meadows, and dividing this
+beach, finds its outlet to the sea. At the northern end of the beach
+is the picturesque promontory of Boar's Head, and eastward are seen the
+Isles of Shoals, and in the further distance the blue disk of
+Agamenticus. Whittier describes the place with his usual exactness:--
+
+    "And fair are the sunny isles in view
+      East of the grisly Head of the Boar,
+    And Agamenticus lifts its blue
+      Disk of a cloud the woodlands o'er;
+    And southerly, when the tide is down,
+    'Twixt white sea-waves and sand-hills brown,
+    The beach-birds dance and the gray gulls wheel
+    Over a floor of burnished steel."
+
+[Illustration: INTERIOR OF ROCKY HILL CHURCH]
+
+Rev. J. C. Fletcher, in an article published in 1879, says that he was
+with Whittier at Salisbury Beach, in the summer of 1861, when he saw
+the remarkable mirage commemorated in these lines in "The Tent on the
+Beach:"--
+
+      "Sometimes, in calms of closing day,
+      They watched the spectral mirage play;
+    Saw low, far islands looming tall and nigh,
+    And ships, with upturned keels, sail like a sea the sky."
+
+[Illustration: MOUTH OF HAMPTON RIVER
+
+Scene of "The Wreck of Rivermouth"]
+
+Mr. Fletcher was spending several weeks that summer with his family in
+a tent on the beach. He says: "Here we were visited by friends from
+Newburyport and Amesbury. None were more welcome than Whittier and his
+sister, and two nieces, one of whom, Lizzie, as we called her, had the
+beautiful eyes--the grand features in both the poet and his sister.
+Those eyes of his sister Elizabeth are most touchingly alluded to by
+Whittier when he refers to his sister's childhood in the old Snow-bound
+homestead:--
+
+    "'Lifting her large, sweet, asking eyes,
+      Now bathed in the unfading green
+    And holy peace of Paradise.'
+
+"One day, late in the afternoon, I recall how Elizabeth was enjoying a
+cup of tea in the family tent, while Whittier and myself were seated
+upon a hillock of sand outside. It had been a peculiarly beautiful day,
+and as the sun began to decline, the calm sea was lit up with a dreamy
+grandeur wherein there seemed a mingling of rose-tint and color of
+pearls. All at once we noticed that the far-off Isles of Shoals, of
+which in clear days only the lighthouse could be seen, were lifted into
+the air, and the vessels out at sea were seen floating in the heavens.
+Whittier told me that he never before witnessed such a sight. We called
+to the friends in the tent to come and enjoy the scene with us.
+Elizabeth Whittier was then seeing from the shore the very island,
+reduplicated in the sky, where two years afterwards she met that fatal
+accident which, after months of suffering, terminated her existence."
+
+[Illustration: SALISBURY BEACH, BEFORE THE COTTAGES WERE BUILT
+
+Scene of "The Tent on the Beach"]
+
+Elizabeth fell upon the rocks at Appledore in August, 1863. It was not
+thought at the time that she was seriously injured, and perhaps Mr.
+Fletcher is wrong in attributing her death solely to this cause. For
+many years before and after the death of his sister, Mr. Whittier spent
+some days each summer at Appledore. It was at his insistence that Celia
+Thaxter undertook her charming book, "Among the Isles of Shoals."
+
+[Illustration: HAMPTON RIVER MARSHES]
+
+Other ballads of this region are "The Changeling," and "The New Wife
+and the Old." The ancient house which is the scene of the last named
+poem is still standing, and may be seen by passengers on the Boston and
+Maine road, near the Hampton station. It has a gambrel roof, and is on
+the left when the train is going westward. On the right as the train
+passes Hampton Falls station may be seen in the distance, shaded by
+magnificent elms, the house of Miss Gove, in which Whittier died. It
+was upon these broad meadows and the distant line of the beach that his
+eyes rested, when he took his last look upon the scenery he loved and
+has so faithfully pictured in his verse. The photographs here
+reproduced were taken by his grandnephew a few days before his death,
+and the last time he stood on the balcony where his form appears. The
+room in which he died opens upon this balcony. It was his cousin,
+Joseph Cartland, who happened to stand by his left side when the
+picture was taken. This house is worthy of notice aside from its
+connection with Whittier, as one of the finest specimens of colonial
+architecture, its rooms filled with the furniture and heirlooms of the
+ancestors of the present proprietor. A trolley line from Amesbury now
+passes the house.
+
+[Illustration: HOUSE OF MISS GOVE, HAMPTON FALLS]
+
+[Illustration: CHAMBER IN WHICH WHITTIER DIED]
+
+As a coincidence that was at the time considered singular, the
+superstition in regard to the matter of thirteen at table was recalled
+when Whittier dined for the last time with his friends. During the
+summer he had lodged at the house of Miss Gove, taking his meals with
+others of his party in a house adjoining. One evening all had taken
+their places at the table except Mr. Whittier. His niece noticed there
+were twelve seated, and without comment took her plate to a small table
+in a corner of the room. When her uncle came in, he said in a cheery
+way, "Why, Lizzie, what has thee been doing, that they put thee in the
+corner?" Some evasive reply was made, but probably Mr. Whittier guessed
+the reason, for he was well versed in such superstitions, and sometimes
+laughingly heeded them. In a few minutes, Mr. Wakeman, the Baptist
+clergyman of the village, just returned from his summer vacation, came
+in unexpectedly, and took the thirteenth seat that had just been
+vacated. Whittier's grandnephew, to again break the omen, took his
+plate over to the table in the corner with his mother. It was all done
+in a playful way, but the matter was recalled while we were at
+breakfast next morning. The news then came of the paralysis which had
+affected Mr. Whittier while dressing to join us. He never again came to
+the dining room. Another incident of the same evening was more
+impressive, and remains to this day inexplicable. After sitting for a
+while in the parlor conversing with friends, he took his candle to
+retire, and as he said "Goodnight" to his friends, and passed out of
+the door, an old clock (the clock over the desk) struck once! It had
+not been wound up for years, and as no one present had ever before
+heard it strike, it excited surprise--the more so as the hands were not
+in position for striking. It was an incident that had a marked effect
+upon a party little inclined to heed omens; and in many ways, without
+success, we tried to get the clock to strike once more.
+
+[Illustration: AMESBURY PUBLIC LIBRARY]
+
+A beautiful little lake in the northern part of Amesbury, formerly
+known as Kimball's Pond, is the scene of "The Maids of Attitash." Its
+present name was conferred by Whittier because huckleberries abound in
+this region, and Attitash is the Indian name for this berry. His poem
+pictures the maidens with "baskets berry-filled," watching
+
+            ... "in idle mood
+    The gleam and shade of lake and wood."
+
+In a letter to the editor of "The Atlantic" inclosing this ballad, he
+says of Attitash: "It is as pretty as St. Mary's Lake which Wordsworth
+sings, in fact a great deal prettier. The glimpse of the Pawtuckaway
+range of mountains in Nottingham seen across it is very fine, and it
+has noble groves of pines and maples and ash trees." A trolley line
+from Amesbury to Haverhill passes this lake; but this is not the line
+which passes the Whittier birthplace.
+
+Annually, in the month of May, the Quarterly Meeting of the Society of
+Friends is held at Amesbury, and during the fifty-six years of Mr.
+Whittier's residence in the village, this was an occasion on which he
+kept open house, and wherever he happened to be, he came home to enjoy
+the company of friends, giving up all other engagements. He could not
+be detained in Boston or Danvers, or wherever else he might be, when
+the time for this meeting approached. It was an annual event in which
+his mother and sister took much interest, and after they passed away,
+the custom was maintained with the same spirit of hospitality with
+which they had invested it, to the last year of his life.
+
+Among Mr. Whittier's neighbors was an aged pair, a brother and sister,
+whose simple, old-fashioned ways and quaint conversation he much
+enjoyed. He thought they worked harder than they had need to do, as the
+infirmities of age fell upon them, for they had accumulated a
+competency, and on one occasion he suggested that they leave for
+younger hands some of the labor to which they had been accustomed. But
+the sister said, "We must lay by something for our last sickness, and
+have enough left to bury us." Whittier replied, "Mary, did thee ever
+know any one in his last sickness to stick by the way for want of
+funds?" The beautiful public library of Amesbury was built with the
+money of this aged pair, whose will was made at the suggestion of
+Whittier. Part of the money Whittier left to hospitals and schools
+would have been given to this library, had he not known that it was
+provided for by his generous neighbors.
+
+[Illustration: WHITTIER AT THE AGE OF FORTY-NINE]
+
+In his poem "The Common Question," Whittier refers to a saying of his
+pet parrot, "Charlie," a bird that afforded him much amusement, and
+sometimes annoyance, by his tricks and manners. His long residence in
+this Quaker household had the effect to temper his vocabulary, and he
+almost forgot some phrases his ungodly captors had taught him. But
+there would be occasional relapses. He had the freedom of the house,
+for Whittier objected to having him caged. One Sunday morning, when
+people were passing on the way to meeting, Charlie had gained access to
+the roof, and mounted one of the chimneys. There he stood, dancing and
+using language he unfortunately had not quite forgotten, to the
+amazement of the church-goers! Whatever Quaker discipline he received
+on this occasion did not cure him of the chimney habit, but some time
+later he was effectually cured; for while dancing on this high perch he
+fell down one of the flues and was lost for some days. At last his
+stifled voice was heard in the parlor, in the wall over the mantel. A
+pole was let down the flue and he was rescued, but so sadly demoralized
+that he could only faintly whisper, "What does Charlie want?" He died
+from the effect of this accident, but we will not dismiss him without
+another story in which he figures: He had the bad habit of nipping at
+the leg of a person whose trousers happened to be hitched above the top
+of the boot. One day Mr. Whittier was being worn out by a prosy
+harangue from a visitor who sat in a rocking-chair, and swayed back and
+forth as he talked. As he rocked, Whittier noticed that his trousers
+were reaching the point of danger, and now at length he had something
+that interested him. Charlie was sidling up unseen by the orator. There
+was a little nip followed by a sharp exclamation, and the thread of the
+discourse was broken! The relieved poet now had the floor as an
+apologist for his discourteous parrot.
+
+At a time when Salmon P. Chase was in Lincoln's Cabinet, but was
+beginning to think of the possibility of supplanting him at the next
+presidential election, he visited Massachusetts, and called upon his
+old anti-slavery friend, Mr. Whittier. Chase told him among other
+things that he did not like Abraham Lincoln's stories. Whittier said,
+"But do they not always have an application, like the parables?" "Oh,
+yes," said Chase, "but they are not decent like the parables!"
+
+Henry Taylor was a village philosopher of Amesbury given to the
+discussion of high themes in a somewhat eccentric manner, and Whittier
+had a warm side for such odd characters. Once when Emerson was his
+guest, he invited Taylor to meet him, knowing that the Concord
+philosopher would be amused if not otherwise interested in his Amesbury
+brother. Taylor found him a good listener, and gave him the full
+benefit of his theories and imaginings. Next morning Whittier called on
+him to inquire what he thought of Emerson. "Oh," said he, "I find your
+friend a very intelligent man. He has adopted some of my ideas."
+
+[Illustration: THE WOOD GIANT, AT STURTEVANT'S, CENTRE HARBOR
+
+    "Alone, the level sun before;
+      Below, the lake's green islands;
+    Beyond, in misty distance dim,
+      The rugged Northern Highlands."]
+
+The likeness of Whittier on page 97 is from a daguerreotype taken in
+October, 1856, and has never before been published in any volume
+written by or about the poet. Mr. Thomas E. Boutelle, the artist who
+took this daguerreotype, is now living in Amesbury at the age of
+eighty-five. He tells me how he happened to get this picture,--a rather
+difficult feat, as it was hard to induce the poet to sit for his
+portrait. He had set up a daguerrean saloon in the little square near
+Whittier's house, and Whittier often came in for a social chat, but
+persistently refused to give a sitting. One day he came in with his
+younger brother Franklin, whose picture he wanted. When it was
+finished, Franklin said, "Now, Greenleaf, I want your picture." After
+much persuasion Greenleaf consented, and Mr. Boutelle showed him the
+plate before it was fully developed, with the remark that he thought he
+could do better if he might try again. By this bit of strategy he
+secured the extra daguerreotype here reproduced, but he took care not
+to show it in Amesbury, for fear Whittier would call it in. He took it
+to Exeter, N. H., and put it in a show-case at his door. His saloon was
+burned, and all he saved was this show-case and the daguerreotype,
+which many of the poet's old friends think to be his best likeness of
+that period.
+
+Several of Whittier's poems referring to New Hampshire scenery
+celebrate particular trees remarkable for age and size. For these
+giants of the primeval forest he ever had a loving admiration. The
+great elms that shade the house in which he died would no doubt have
+had tribute in verse if his life had been spared. He invited the
+attention of every visitor to them. The immense pine on the Sturtevant
+farm, near Centre Harbor, called out a magnificent tribute in his poem
+"The Wood Giant." Our engraving on page 99 gives some idea of "the
+Anakim of pines." There is a grove at Lee, N. H., on the estate of his
+dearly-loved cousins, the Cartlands, to which he refers in his poem "A
+Memorial:"--
+
+    "Green be those hillside pines forever,
+      And green the meadowy lowlands be,
+    And green the old memorial beeches,
+      Name-carven in the woods of Lee!"
+
+There is a "Whittier Elm" at West Ossipee, and indeed wherever he chose
+a summer resort, some wood giant still bears his name.
+
+[Illustration: THE CARTLAND HOUSE, NEWBURYPORT
+
+Where Whittier spent the last winter of his life. A century ago the
+residence of the father of Harriet Livermore.]
+
+Visitors to Whittier-Land will find an excursion to Oak Knoll, in
+Danvers, to be full of interest. Here the poet, after the marriage of
+his niece, spent a large part of each of the last fifteen years of his
+life in the family of his cousins, the Misses Johnson and Mrs. Woodman.
+Without giving up his residence in Amesbury, where his house was always
+kept open for him during these years by Hon. George W. Cate, he found
+in the beautiful seclusion of the fine estate at Oak Knoll a restful
+and congenial home. Many souvenirs of the poet are here treasured, and
+the historical associations of the place are worthy of note. Here lived
+the Rev. George Burroughs, who suffered death as a wizard more than two
+centuries ago. He was a man of immense strength of muscle, and his
+astonishing athletic feats were cited at his trial as evidence of his
+dealings with the Evil One. The well of his homestead is shown under
+the boughs of an immense elm, and the canopy now over it was the
+sounding-board of the pulpit of an ancient church of the parish so
+unenviably identified with the witchcraft delusion.
+
+Inquiries are sometimes made in regard to the places in Boston
+associated with the memory of Whittier. His first visit to the city was
+in his boyhood, when he came as the guest of Nathaniel Greene, a
+distant kinsman of his, who was editor of the "Statesman" and
+postmaster of Boston. Many of his earliest poems were published in the
+"Statesman" under assumed names, and until lately never recognized as
+his. Not one of these juvenile productions, of which I have happened
+upon many specimens, was ever collected. When he was editing the
+"Manufacturer," he boarded with the publisher of that paper, Rev. Mr.
+Collier, at No. 30 Federal Street. When visiting Boston in middle life,
+he felt most at home in the old Marlboro Hotel on Washington Street. He
+would often leave the hotel for a morning walk, and find a hearty
+welcome at the breakfast hour from his dear friends, Mr. and Mrs. James
+T. Fields, at No. 148 Charles Street. In later life, at the home of
+Governor Claflin, at No. 63 Mount Vernon Street, he was frequently an
+honored guest. It was here he first met Elizabeth Stuart Phelps, who
+gives this account of their meeting: "On this morning he came in across
+the thick carpet with that nervous but soft step which every one who
+ever saw him remembers. Straight as his own pine tree, high of stature,
+and lofty of mien, he moved like a flash of light or thought. The first
+impression which one received was of such eagerness to see his friends
+that his heart outran his feet. He seemed to suppose that he was
+receiving, not extending the benediction; and he offered the delicate
+tribute to his friend of allowing him to perceive the sense of debt. It
+would have been the subtlest flattery, had he not been the most honest
+and straightforward of men. We talked--how can I say of what? Or of
+what not? We talked till our heads ached and our throats were sore; and
+when we had finished we began again. I remember being surprised at his
+quick, almost boyish, sense of fun, and at the ease with which he rose
+from it into the atmosphere of the gravest, even the most solemn,
+discussion. He was a delightful converser, amusing, restful,
+stimulating, and inspiring at once." The winter of 1882-83 he spent at
+the Winthrop Hotel, on Bowdoin Street, where the Commonwealth Hotel now
+stands.
+
+[Illustration: WHITEFIELD'S CHURCH AND BIRTHPLACE OF GARRISON]
+
+A visit to Whittier-Land is incomplete if Old Newbury and Newburyport
+(originally one town) are left out of the itinerary. At the celebration
+of the two hundred and fiftieth anniversary of the settlement of
+Newbury, in 1885, a letter from Whittier was read in which he recites
+some of the reasons for his interest in the town. He says: "Although I
+can hardly call myself a son of the ancient town, my grandmother, Sarah
+Greenleaf of blessed memory, was its daughter, and I may therefore
+claim to be its grandson. Its genial and learned historian, Joshua
+Coffin, was my first school-teacher, and all my life I have lived in
+sight of its green hills, and in hearing of its Sabbath bells. Its
+history and legends are familiar to me.... The town took no part in the
+witchcraft horror, and got none of its old women and town charges
+hanged for witches. 'Goody' Morse had the spirit rappings in her house
+two hundred years earlier than the Fox girls did, and somewhat later a
+Newbury minister in wig and knee-buckles rode, Bible in hand, over to
+Hampton to lay a ghost who had materialized himself and was stamping up
+and down stairs in his military boots.... Whitefield set the example
+since followed by the Salvation Army, of preaching in its streets, and
+now lies buried under one of the churches with almost the honor of
+sainthood. William Lloyd Garrison was born in Newbury. The town must be
+regarded as the Alpha and Omega of the anti-slavery agitation."
+
+The grandmother to whom he refers was born in that part of the town
+nearest to his own birthplace. The outlet to Country Brook is nearly
+opposite the Greenleaf place, and Whittier's poem "The Home-Coming of
+the Bride" describes the crossing of the river and the bridal
+procession up the valley of the lesser stream, a part of which is known
+as Millvale because of the mills alluded to in the poem.
+
+The house in which Garrison was born is on School Street next to the
+Old South meeting-house, in which Whitefield preached, and under the
+pulpit of which his bones are deposited. Whitefield died in the house
+next to Garrison's birthplace. The ancient Coffin house, built in 1645,
+the home of Joshua Coffin, to whom Whittier addressed his poem "To My
+Old Schoolmaster," is on High Street, about half a mile below State
+Street. Whittier's cousins, Joseph and Gertrude Cartland, with whom he
+spent a large part of the last year of his life, lived at No. 244 High
+Street, at the corner of Broad.
+
+
+
+
+WHITTIER'S SENSE OF HUMOR
+
+
+
+
+III
+
+WHITTIER'S SENSE OF HUMOR
+
+
+Few men of his day, of equal prominence, have been so greatly
+misunderstood as Whittier by the public which knows him only by the
+writings he allowed to be published. These reveal him on the one hand
+as an earnest reformer bitterly denouncing the sins of a guilty people,
+and on the other as a prophet of God, with a message of cheer to those
+who turn them from their evil ways. While slavery existed, he lashed
+the institution with a whip of scorpions, and in later years, in poems
+of exquisite sweetness, he sang of "The Eternal Goodness," and brought
+words of consolation and hope to despairing souls. In the popular mind
+there has been built up for him a reputation for extreme seriousness
+and even severity. To be sure, some of the poems in his collected works
+have witty and even merry lines, but they usually have a serious
+purpose. The real fun and frolic of his nature were known only to those
+privileged with his intimacy. He delighted at times in throwing off his
+mantle of prophecy, and unbending even to jollity, in his home life and
+among friends. The presence of a stranger was a check to such
+exuberance. And it was not from any unsocial habit that he fell into
+this restraint. It was because he found that the unguarded words of a
+public man are often given a weight they were not intended to bear. If
+he unbent as one might whose every word has not come to be thought of
+value, it led to misunderstandings. In his home and among near friends
+he revealed a charming readiness to engage in lively and frolicsome
+conversation.
+
+Some stories illustrating his keen sense of humor, and specimens of
+verse written in rollicking vein for special occasions, which might not
+properly find place in a serious attempt at biography, I have thought
+might be allowed in such an informal work as this. Few of the lines I
+shall here give have ever appeared in any of his collected works, and
+some of them were never before in print. I am sure I do no wrong to his
+memory in thus bringing out a phase of his character which could not be
+fully treated in biography.
+
+I never heard him laugh aloud, but a merrier face and an eye that
+twinkled with livelier glee when thoroughly amused are not often seen.
+He would double up with mirth without uttering a sound,--his chuckle
+being visible instead of audible,--but this peculiar expression of
+jollity was irresistibly infectious. The faculty of seeing the humorous
+side of things he considered a blessing to be coveted, and he had a
+special pity for that class of philanthropists who cannot find a laugh
+in the midst of the miseries they would alleviate. A laugh rested him,
+and any teller of good stories, any writer of lively adventures,
+received a hearty greeting from him. He told Dickens that his "Pickwick
+Papers" had for years been his remedy for insomnia, and Sam Weller had
+helped him to many an hour of rested nerves. He loved and admired
+Longfellow and Lowell, and they were his most cherished friends, but
+the lively wit of Holmes had a special charm for him, and jolly times
+they had whenever they met. The witty talk and merry letters of Gail
+Hamilton, full as they were of a mad revelry of nonsense, were a great
+delight to him. It was not in praise of but in pity for Charles Sumner
+that he wrote:--
+
+    "No sense of humor dropped its oil
+      On the hard ways his purpose went;
+    Small play of fancy lightened toil;
+      He spake alone the thing he meant."
+
+As an illustration of his own way of speaking the thing he did _not_
+mean, just for fun, take the following: More than thirty years ago, a
+Division of the Sons of Temperance was organized in Amesbury, and his
+niece, one of his household, joined it. Her turn came to edit a paper
+for the Division, and she asked her uncle to contribute something. He
+had often complained in a laughing way in regard to the late hours of
+the club, and had threatened to lock her out. This accounts for the
+tone of the following remarkable contribution to temperance literature
+from one of the oldest friends of the cause:--
+
+
+THE DIVISION
+
+    "Dogs take it! Still the girls are out,"
+      Said Muggins, bedward groping,
+    "'T is twelve o'clock, or thereabout,
+      And all the doors are open!
+    I'll lock the doors another night,
+      And give to none admission;
+    Better to be abed and tight
+      Than sober at Division!"
+
+    Next night at ten o'clock, or more
+      Or less, by Muggins's guessing,
+    He went to bolt the outside door,
+      And lo! the key was missing.
+    He muttered, scratched his head, and quick
+      He came to this decision:
+    "Here 's something new in 'rithmetic,
+      Subtraction by Division!
+
+    "And then," said he, "it puzzles me,
+      I cannot get the right on 't,
+    Why temperance talk and whiskey spree
+      Alike should make a night on 't.
+    D 'ye give it up?" In Muggins's voice
+      Was something like derision--
+    "It 's just because between the boys
+      And girls there 's no Division!"
+
+[Illustration: BEARCAMP HOUSE, WEST OSSIPEE, N. H.]
+
+Whittier's favorite way of enjoying his annual vacation among the
+mountains was to go with a party of his relatives and neighbors, and
+take possession of a little inn at West Ossipee, known as the "Bearcamp
+House." Sturtevant's, at Centre Harbor, was another of his resorts. At
+these places his party filled nearly every room. It was made up largely
+of young people, full of frolic and love of adventure. The aged poet
+could not climb with them to the tops of the mountains; but he watched
+their going and coming with lively interest, and of an evening listened
+to their reports and laughed over the effervescence of their
+enthusiasm. Two young farmers of West Ossipee, brothers named Knox,
+acted as guides to Chocorua. They had some success as bear hunters, and
+supplied the inn with bear steaks. One day in September, 1876, the
+Knox brothers took a party of seven of Whittier's friends to the top of
+Chocorua, where they camped for the night among the traps that had been
+set for the bears. They heard the growling of the bears in the night,
+so the young ladies reported, with other blood-curdling incidents. Soon
+after the Knox brothers gave a husking at their barn,[7] and the whole
+Bearcamp party was invited. Whittier wrote a poem for the occasion, and
+induced Lucy Larcom to read it for him as from an unknown author,
+although he sat among the huskers. It was entitled:--
+
+
+HOW THEY CLIMBED CHOCORUA
+
+    Unto gallant deeds belong
+    Poet's rhyme and singer's song;
+    Nor for lack of pen or tongue
+    Should their praises be unsung,
+            Who climbed Chocorua!
+
+    O full long shall they remember
+    That wild nightfall of September,
+    When aweary of their tramp
+    They set up their canvas camp
+            In the hemlocks of Chocorua.
+
+    There the mountain winds were howling,
+    There the mountain bears were prowling,
+    And through rain showers falling drizzly
+    Glared upon them, grim and grisly,
+            The ghost of old Chocorua!
+
+    On the rocks with night mist wetted,
+    Keen his scalping knife he whetted,
+    For the ruddy firelight dancing
+    On the brown locks of Miss Lansing,
+            Tempted old Chocorua.
+
+    But he swore--(if ghosts can swear)--
+    "No, I cannot lift the hair
+    Of that pale face, tall and fair,
+    And for _her_ sake, I will spare
+            The sleepers on Chocorua."
+
+    Up they rose at blush of dawning,
+    Off they marched in gray of morning,
+    Following where the brothers Knox
+    Went like wild goats up the rocks
+            Of vast Chocorua.
+
+    Where the mountain shadow bald fell,
+    Merry faced went Addie Caldwell;
+    And Miss Ford, as gay of manner,
+    As if thrumming her piano,
+            Sang along Chocorua.
+
+    Light of foot, of kirtle scant,
+    Tripped brave Miss Sturtevant;
+    While as free as Sherman's bummer,
+    In the rations foraged Plummer,
+            On thy slope, Chocorua!
+
+    Panting, straining up the rock ridge,
+    How they followed Tip and Stockbridge,
+    Till at last, all sore with bruises,
+    Up they stood like the nine Muses,
+            On thy crown, Chocorua!
+
+    At their shout, so wild and rousing,
+    Every dun deer stopped his browsing,
+    And the black bear's small eyes glistened,
+    As with watery mouth he listened
+            To the climbers on Chocorua.
+
+    All the heavens were close above them,
+    But below were friends who loved them,--
+    And at thought of Bearcamp's worry,
+    Down they clambered in a hurry,--
+            Scurry down Chocorua.
+
+    Sore we miss the steaks and bear roast--
+    But withal for friends we care most;--
+    Give the brothers Knox three cheers,
+    Who to bring us back our _dears_,
+            Left bears on old Chocorua!
+
+[Illustration: GROUP AT STURTEVANT'S, CENTRE HARBOR
+
+Gertrude Cartland at Whittier's left, Mrs. Wade and Joseph Cartland at
+his right. Mrs. Caldwell, wife of Whittier's nephew, at his left
+shoulder.]
+
+The next day after the husking, Lucy Larcom and some others of the
+party prepared a burlesque literary exercise for the evening at the
+inn. She wrote a frolicsome poem, and others devised telegrams, etc.,
+all of which were to surprise Whittier, who was to know nothing of the
+affair until it came off. When the evening came, the venerable poet
+took his usual place next the tongs, and the rest of the party formed a
+semicircle around the great fireplace. On such occasions Whittier
+always insisted on taking charge of the fire, as he did in his own
+home. He even took upon himself the duty of filling the wood-box. No
+one in his presence dared to touch the tongs. By and by telegrams began
+to be brought in by the landlord from ridiculous people in ridiculous
+situations. Some purported to come from an old poet who had the
+misfortune to be caught by his coat-tails in one of the Knox bear-traps
+on Chocorua. It was suggested that he might be the author of the poem
+read at the husking. Lucy Larcom, who, by the way, was another of the
+writers popularly supposed to be very serious minded, but who really
+was known among her friends as full of fun, read a poem addressed to
+the man in the bear-trap, entitled:--
+
+
+TO THE UNKNOWN AND ABSENT AUTHOR OF "HOW THEY CLIMBED CHOCORUA"
+
+    O man in the trap, O thou poet-man!
+          What on airth are you doin'?--
+    We haste to the husking as fast as we can,
+         --But where 's Mr. Bruin?
+
+    We listen, we wait for his sweet howl in vain,
+          Like the far storm resounding.
+    Brothers Knox ne'er will see Mr. Bruin again,
+          Through the dim moonlight bounding.
+
+    For, thou man in the trap, O thou poet-y-man,
+          Scared to flight by thy singing,
+    Away through the mountainous forest he ran,
+          Like a hurricane winging.
+
+    Aye, the bear fled away, and his traps left behind,
+          For the use of the poet;
+    If an echo unearthly is borne on the wind--
+          'T is the man's--you may know it
+
+    By its tones of dismay, melancholy and loss,
+          O'er his coat-tails' sad ruin;
+    There 's a moan in the pine, and a howl o'er the moss--
+          But it 's he--'t is n't Bruin!
+
+    And the fire you see on the cliff in the air[8]
+          Is his eye-balls a-glarin'!
+    And the form that you call old Chocorua there
+          Is the poet up-rarin'!
+
+    And whenever the trees on the mountain-tops thrill
+          And the fierce winds they blow 'em,
+    In most awful pause every bear shall stand still--
+          He 's writing a poem!
+
+Whittier evidently enjoyed the fun, and after the rest had had their
+say, he remarked, "That old fellow in the bear-trap must be _in
+extremis_. He ought to make his will. Suppose we help him out!" He
+asked one of us to get pencil and paper and jot down the items of the
+will, each to make suggestions. It ended, of course, in his making the
+whole will himself, and doing it in verse. It is perhaps the only poem
+of his which he never wrote with his own hand. It came as rapidly as
+the scribe could take it. Every one at that fireside was remembered in
+this queer will--even the "boots" of the inn, the stage-driver, and
+others who were looking upon the sport from the doorway.
+
+
+THE LAST WILL AND TESTAMENT OF THE MAN IN THE BEAR-TRAP
+
+    Here I am at last a goner,
+    Held in hungry jaws like Jonah;
+      What the trap has left of me
+      Eaten by the bears will be.
+    So I make, on duty bent,
+    My last will and testament,
+      Giving to my Bearcamp friends
+      All my traps and odds and ends.
+    First, on Mr. Whittier,
+    That old bedstead I confer,
+      Whereupon, to vex his life,
+      Adam dreamed himself a wife.
+    I give Miss Ford the copyright
+    Of these verses I indite,
+      To be sung, when I am gone,
+      To the tune the cow died on.
+    On Miss Lansing I bestow
+    Tall Diana's hunting bow;
+      Where it is I cannot tell--
+      But if found 't will suit her well.
+    I bequeath to Mary Bailey
+    Yarn to knit a stocking daily.[9]
+      To Lizzie Pickard from my hat
+      A ribbon for her yellow cat.
+    And I give to Mr. Pickard
+    That old tallow dip that flickered,
+      Flowed and sputtered more or less
+      Over Franklin's printing press.
+    I give Belle Hume a wing
+    Of the bird that wouldn't sing;[10]
+      To Jettie for her dancing nights
+      Slippers dropped from Northern Lights.
+    And I give my very best
+    Beaver stove-pipe to Celeste--
+      Solely for her husband's wear,
+      On the day they're made a pair.
+    If a tear for me is shed,
+    And Miss Larcom's eyes are red--
+      Give her for her prompt relief
+      My last pocket-handkerchief![11]
+    My cottage at the Shoals I give
+    To all who at the Bearcamp live--
+      Provided that a steamer plays
+      Down that river in dog-days--
+    Linking daily heated highlands
+    With the cool sea-scented islands--
+      With Tip her engineer, her skipper
+      Peter Hines, the old stage-whipper.[12]
+    To Addie Caldwell, who has mended
+    My torn coat, and trousers rended,
+      I bequeath, in lack of payment,
+      All that 's left me of my raiment.
+    Having naught beside to spare,
+    To my good friend, Mrs. Ayer,
+      And to Mrs. Sturtevant,
+      My last lock of hair I grant.
+    I make Mr. Currier[13]
+    Of this will executor;
+      And I leave the debts to be
+      Reckoned as his legal fee.
+
+This is all of the will that was written that evening; but the next
+morning, at breakfast, I found under my plate a note-sheet, with some
+penciling on it. As I opened it, Mr. Whittier, with a quizzical look,
+said, "Thee will notice that the bear-trap man has added a codicil to
+his will." This is the codicil:--
+
+    And this pencil of a sick bard
+    I bequeath to Mr. Pickard;
+      Pledging him to write a very
+      Long and full obituary--
+    Showing by my sad example,
+    Useful life and virtues ample,
+      Wit and wisdom only tend
+      To bear-traps at one's latter end!
+
+I had to go back to my editorial desk in Portland that day, and
+immediately received there this note from Mr. Whittier:--
+
+"DEAR MR. P.,--Don't print in thy paper my foolish verses, which thee
+copied. They are hardly consistent with my years and 'eminent gravity,'
+and would make 'the heathen rage, and the people imagine vain things.'"
+
+I had no thought at the time of giving to the public this jolly side of
+Whittier's character, but do it now with little misgiving, as it is
+realized by every one that "a little nonsense now and then is relished
+by the wisest men." Whittier's capacity for serious work is well known,
+and his love of play never interfered with it. An earnest man without a
+sense of humor is a machine without a lubricant, worn out before its
+work is done. There can be no doubt that Whittier owed his length of
+days to his happy temperament.
+
+Here is a story of Whittier told by Alice Freeman Palmer: One evening
+they sat in Governor Claflin's library, in Boston, and he was taking
+his rest telling ghost stories. Mrs. Claflin had given strict orders
+that no visitor be allowed to intrude on Mr. Whittier when he was
+resting. Suddenly, at the crisis of a particularly interesting story,
+there was a commotion in the hall, and the rest of that story was not
+told. A lady had called to see the poet, and would not be denied. The
+domestic could not stop her, and she came straight into the library.
+She walked up to Whittier and seized both his hands, saying, "Mr.
+Whittier, this is the supreme moment of my life!" The poor man in his
+distress blushed like a school-girl, and shifted from one foot to the
+other; he managed to get his hands free, and put them behind him for
+further security. And what do you think he said? All he said was, "Is
+it?" Miss Freeman thought a third party in the way, and slipped out. As
+she was going upstairs, she heard a quick step behind her, and Whittier
+took her by the shoulder and shook her, saying as if angry, "Alice
+Freeman, I believe thee has been laughing at me!" She could not deny
+it. "What would thee do, Alice Freeman, if a man thee never saw should
+come up in that way to thee, take both hands, and tell thee it was the
+supreme moment of his life?"
+
+Probably the most seriously dangerous position in which he was ever
+placed was on the occasion of the looting and burning of Pennsylvania
+Hall, in the spring of 1838. His editorial office was in the building,
+and for two or three days the mob had been threatening its destruction
+before they accomplished it. It was not safe for him to go into the
+street except in disguise. And yet it was at this very time that he
+wrote the following humorous skit, never before in print. Theodore D.
+Weld had the year before made a contract of perpetual bachelorhood with
+Whittier, and yet he chose this troublous time to marry the eloquent
+South Carolina Quakeress, Angelina Grimke, who had freed her slaves and
+come North to rouse the people, and was creating a sensation on the
+lecture platform. Her burning words in Pennsylvania Hall had helped to
+make the mob furious. Whittier's humorous arraignment of his friend for
+breaking his promise of celibacy was written at this critical time, and
+he was obliged to disguise himself when he carried his epithalamium on
+the wedding night to the door of the bridegroom. He had been invited to
+assist at the wedding service, but as the bride was marrying "out of
+society," Whittier's orthodoxy compelled him to decline the invitation.
+
+    "Alack and alas! that a brother of mine,
+      A bachelor sworn on celibacy's altar,
+    Should leave me to watch by the desolate shrine,
+      And stoop his own neck to the enemy's halter!
+    Oh the treason of Benedict Arnold was better
+      Than the scoffing at Love, and then _sub rosa_ wooing;
+    This mocking at Beauty, yet wearing her fetter--
+      Alack and alas for such bachelor doing!
+
+    "Oh the weapons of Saul are the Philistine's prey!
+      Who shall stand when the heart of the champion fails him;
+    Who strive when the mighty his shield casts away,
+      And yields up his post when a woman assails him?
+    Alone and despairing thy brother remains
+      At the desolate shrine where we stood up together,
+    Half tempted to envy thy self-imposed chains,
+      And stoop his own neck for the noose of the tether!
+
+    "So firm and yet false! Thou mind'st me in sooth
+      Of St. Anthony's fall when the spirit of evil[14]
+
+          .     .     .     .     .
+
+      Filled the cell of his rest with imp, dragon and devil;
+    But the Saint never lifted his eyes from the Book
+      Till the tempter appeared in the guise of a woman;
+    And her voice was so sweet that he ventured one look,
+      And the devil rejoiced that the Saint had proved human!"
+
+In 1874, Gail Hamilton's niece was married at her house in Hamilton,
+and she sent a grotesque invitation to Whittier, asking him to come to
+her wedding, and prescribing a ridiculous costume he might wear. As a
+postscript she mentioned that it was her niece who was to be married.
+Whittier sent this reply, pretending not to have noticed the
+postscript, but finally waking up to the fact that she was not herself
+to be the bride:--
+
+
+                      AMESBURY, 12th mo. 29th, 1874.
+
+GAIL HAMILTON'S WEDDING
+
+    "Come to my wedding," the missive runs,
+      "Come hither and list to the holy vows;
+    If you miss this chance you will wait full long
+      To see another at Gail-a House!"
+
+    _Her_ wedding! What can the woman expect?
+      Does she think her friends can be jolly and glad?
+    Is it only the child who sighs and grieves
+      For the loss of something he never had?
+
+    Yet I say to myself, Is it strange that she
+      Should choose the way that we know is good
+    What right have we to grumble and whine
+      In a pitiful dog-in-the-manger mood?
+
+    What boots it to maunder with "if" and "perhaps,"
+      And "it might have been" when we know it could n't,
+    If she had been willing (a vain surmise),
+      It 's ten to one that Barkis would n't.
+
+    'T was pleasant to think (if it _was_ a dream)
+      That our loving homage her need supplied,
+    Humbler and sadder, if wiser, we walk
+      To feel her life from our own lives glide.
+
+    Let her go, God bless her! I fling for luck
+      My old shoe after her. Stay, what 's this?
+    Is it all a mistake? The letter reads,
+      "My _niece_, you must know, is the happy miss."
+
+    All 's right! To grind out a song of cheer
+      I set to the crank my ancient muse.
+    Will somebody kiss that bride for me?
+      I fling with my blessing, both boots and shoes!
+
+    To the lucky bridegroom I cry all hail!
+      He is sure of having, let come what may,
+    The sage advice of the wisest aunt
+      That ever her fair charge gave away.
+
+    The Hamilton bell, if bell there be,
+      Methinks is ringing its merriest peal;
+    And, shades of John Calvin! I seem to see
+      The hostess treading the wedding reel!
+
+    The years are many, the years are long,
+      My dreams are over, my songs are sung,
+    But, out of a heart that has not grown cold,
+      I bid God-speed to the fair and young.
+
+    All joy go with them from year to year;
+      Never by me shall their pledge be blamed
+    Of the perfect love that has cast out fear,
+      And the beautiful hope that is not ashamed!
+
+An aged Quaker friend from England, himself a bachelor, was once
+visiting Mr. Whittier, and was shown to his room by the poet, when the
+hour for retiring came. Soon after, he was heard calling to his host in
+an excited tone, "Thee has made a mistake, friend Whittier; there are
+female garments in my room!" Whittier replied soothingly, "Thee had
+better go to bed, Josiah; the female garments won't hurt thee."
+
+[Illustration: JOSIAH BARTLETT STATUE, HUNTINGTON SQUARE, AMESBURY]
+
+Here is a specimen of his frolicsome verse written after he was eighty
+years of age. It deals largely in personalities, was meant solely for
+the perusal of a few friends whom it pleasantly satirized, and was
+never before in print. When the bronze statue of Josiah Bartlett was to
+be erected in Amesbury, Whittier of course was called upon for the
+dedicatory ode, and he wrote "One of the Signers" for the occasion. The
+unveiling of the statue occurred on the Fourth of July, 1888, and as
+might have been anticipated, the poet could not be prevailed upon to be
+present. The day before the Fourth he went to Oak Knoll, "so as to keep
+in the quiet," he said. But his thoughts were on the celebration going
+on at Amesbury, and they took the form of drollery. He imagined himself
+occupying the seat on the platform which had been reserved for him, and
+these amusing verses were composed, the satirical allusions in which
+would be appreciated by his townspeople. The president of the day was
+Hon. E. Moody Boynton, a descendant of the signer, and the well-known
+inventor of the bicycle railway, the "lightning saw," etc. He has the
+reputation of having the limberest tongue in New England, as well as a
+brain most fertile in invention. The orator of the day was Hon. Robert
+T. Davis, then member of Congress, a former resident of Amesbury, and
+like Bartlett a physician. Jacob R. Huntington, to whose liberality
+the village is indebted for the statue, is a successful pioneer in the
+carriage-building industry of the place. It was cannily decided to give
+the statue to the State of Massachusetts, so as to have an inducement
+for the Governor to attend the dedication. Whittier's play on this fact
+is in the best vein of his drollery. The statue is of dark bronze, and
+this gave a chance for his amusing reference to the Kingston
+Democrats, whom he imagined as coming across the state line to attend
+the celebration. Dr. Bartlett was buried in their town. Professor J. W.
+Churchill, of Andover, one of the "heretics" of the Seminary, was to
+read the poem. The other persons named were eccentric characters well
+known in Amesbury:--
+
+
+MY DOUBLE
+
+    I 'm in Amesbury, not at Oak Knoll;
+      'T is my double here you see:
+    _I 'm_ sitting on the platform,
+      Where the programme places me--
+
+    Where the women nudge each other,
+      And point me out and say:
+    "That 's the man who makes the verses--
+      My! how old he is and gray!"
+
+    I hear the crackers popping,
+      I hear the bass drums throb;
+    I sit at Boynton's right hand,
+      And help him boss the job.
+
+    And like the great stone giant
+      Dug out of Cardiff mire,
+    We lift our man of metal,
+      And resurrect Josiah!
+
+    Around, the Hampshire Democrats
+      Stand looking glum and grim,--
+    "_That thing_ the Kingston doctor!
+      Do you call _that critter_ him?
+
+    "The pesky Black Republicans
+      Have gone and changed his figure;
+    We buried him a white man--
+      They've dug him up a nigger!"
+
+    I hear the wild winds rushing
+      From Boynton's limber jaws,
+    Swift as his railroad bicycle,
+      And buzzing like his saws!
+
+    But Hiram the wise is explaining
+      It 's only an old oration
+    Of Ginger-Pop Emmons, come down
+      By way of undulation!
+
+    Then Jacob, the vehicle-maker,
+      Comes forward to inquire
+    If Governor Ames will relieve the town
+      Of the care of old Josiah.
+
+    And the Governor says: "If Amesbury can't
+      Take care of its own town charge,
+    The State, I suppose, must do it,
+      And keep him from runnin' at large!"
+
+    Then rises the orator Robert,
+      Recounting with grave precision
+    The tale of the great Declaration,
+      And the claims of his brother physician.
+
+    Both doctors, and both Congressmen,
+      Tall and straight, you 'd scarce know which is
+    The live man, and which is the image,
+      Except by their trousers and breeches!
+
+    Then when the Andover "heretic"
+      Reads the rhymes I dared not utter,
+    I fancy Josiah is scowling,
+      And his bronze lips seem to mutter:
+
+    "Dry up! and stop your nonsense!
+      The Lord who in His mercies
+    Once saved me from the Tories,
+      Preserve me now from verses!"
+
+    Bad taste in the old Continental!
+      Whose knowledge of verse was at best
+    John Rogers' farewell to his wife and
+      Nine children and one at the breast!
+
+    He 's treating me worse than the Hessians
+      He shot in the Bennington scrimmage--
+    Have I outlived the newspaper critic,
+      To be scalped by a graven image!
+
+    Perhaps, after all, I deserve it,
+      Since I, who was born a Quaker,
+    Sit here an image worshiper,
+      Instead of an image breaker!
+
+In giving this picture of a poet at play, I have presented a side of
+Whittier's character heretofore overlooked, although to his intimate
+friends it was ever in evidence. I think there are few of the lovers of
+his verse who, if they are surprised by these revelations, will not
+also be pleased to become acquainted with one of his methods of
+recreation.
+
+       *       *       *       *       *
+
+When Edmund Gosse visited this country in 1884, he called upon Mr.
+Whittier, and this is the impression he received of his personality:
+"The peculiarity of his face rested in the extraordinarily large and
+luminous black eyes, set in black eyebrows, and fringed with thick
+black eyelashes curiously curved inward. This bar of vivid black across
+the countenance was startlingly contrasted with the bushy snow-white
+beard and hair, offering a sort of contradiction which was surprising
+and presently pleasing. He struck me as very gay and cheerful, in spite
+of his occasional references to the passage of time and the vanishing
+of beloved faces. He even laughed frequently and with a childlike
+suddenness, but without a sound. His face had none of the immobility so
+frequent with very aged persons; on the contrary, waves of mood were
+always sparkling across his features, and leaving nothing stationary
+there except the narrow, high, and strangely receding forehead. His
+language, very fluent and easy, had an agreeable touch of the soil, an
+occasional rustic note in its elegant colloquialism, that seemed very
+pleasant and appropriate, as if it linked him naturally with the long
+line of sturdy ancestors of whom he was the final blossoming. In
+connection with his poetry, I think it would be difficult to form in
+the imagination a figure more appropriate to Whittier's writings than
+Whittier himself proved to be in the flesh."
+
+
+
+
+WHITTIER'S UNCOLLECTED POEMS
+
+
+
+
+IV
+
+WHITTIER'S UNCOLLECTED POEMS
+
+
+Between the years 1826 and 1835, Mr. Whittier was writing literally
+hundreds of poems which he never permitted to be collected in any
+edition of his works; and not only so, but he preserved no copies of
+them, in later years destroying such as came to his notice. Some of
+these verses went the rounds of the newspaper press of the country,
+giving him a widespread reputation as a poet. But in much of his early
+work we see traces of ambition for fame, and a feeling that the world
+was treating him harshly. When the change came over his spirit to which
+reference has been made in a preceding chapter, sweetening all the
+springs of life, he lost interest in these early productions, some of
+which were giving him the fame that in his earlier years he so much
+craved. It was this radical change which no doubt influenced him in his
+later life to omit from his collected works most of the verses written
+previous to it. I have in my possession more than three hundred poems
+which I have found in the files of old newspapers, the great mass of
+which I would by no means reproduce, although I find nothing of which a
+young writer of that period need be ashamed. A few of these verses are
+given below as specimens of the work he saw fit to discard.
+
+The following poem, written when he was nineteen years of age, during
+his first term in the Haverhill Academy, shows in one or two stanzas
+the feeling that the world is giving him the cold shoulder:--
+
+
+I WOULD NOT LOSE THAT ROMANCE WILD
+
+    I would not lose that romance wild,
+      That high and gifted feeling--
+    The power that made me fancy's child,
+      The clime of song revealing,
+    For all the power, for all the gold,
+    That slaves to pride and avarice hold.
+
+    I know that there are those who deem
+      But lightly of the lyre;--
+    Who ne'er have felt one blissful beam
+      Of song-enkindled fire
+    Steal o'er their spirits, as the light
+    Of morning o'er the face of night.
+
+    Yet there 's a mystery in song--
+      A halo round the way
+    Of him who seeks the muses' throng--
+      An intellectual ray,
+    A source of pure, unfading joy--
+    A dream that earth can ne'er destroy.
+
+    And though the critic's scornful eye
+      Condemn his faltering lay,
+    And though with heartless apathy,
+      The cold world turn away--
+    And envy strive with secret aim,
+    To blast and dim his rising fame;
+
+    Yet fresh, amid the blast that brings
+      Such poison on its breath,
+    Above the wreck of meaner things,
+      His lyre's unfading wreath
+    Shall bloom, when those who scorned his lay
+    With name and power have passed away.
+
+    Come then, my lyre, although there be
+      No witchery in thy tone;
+    And though the lofty harmony
+      Which other bards have known,
+    Is not, and cannot e'er be mine,
+    To touch with power those chords of thine.
+
+    Yet thou canst tell, in humble strain,
+      The feelings of a heart,
+    Which, though not proud, would still disdain
+      To bear a meaner part,
+    Than that of bending at the shrine
+    Where their bright wreaths the muses twine.
+
+    Thou canst not give me wealth or fame;
+      Thou hast no power to shed
+    The halo of a deathless name
+      Around my last cold bed;
+    To other chords than thine belong
+    The breathings of immortal song.
+
+    Yet come, my lyre! some hearts may beat
+      Responsive to thy lay;
+    The tide of sympathy may meet
+      Thy master's lonely way;
+    And kindred souls from envy free
+    May listen to its minstrelsy.
+
+8th month, 1827.
+
+
+During the first months of Whittier's editorship of the "New England
+Review" at Hartford, his contributions of verse to that paper were
+numerous--in some cases three of his poems appearing in a single
+number, as in the issue of October 18, 1830. Two of these are signed
+with his initials, but the one here given has no signature. That it is
+his is made evident by the fact that all but one stanza of it appears
+in "Moll Pitcher," published two years later. It was probably because
+of the self-assertion of the concluding lines that the omitted stanza
+was canceled, and these lines reveal the ambition then stirring his
+young blood.
+
+
+NEW ENGLAND
+
+    Land of the forest and the rock--
+      Of dark blue lake and mighty river--
+    Of mountains reared aloft to mock
+    The storm's career--the lightning's shock,--
+      My own green land forever!--
+    Land of the beautiful and brave--
+    The freeman's home--the martyr's grave--
+    The nursery of giant men,
+    Whose deeds have linked with every glen,
+    And every hill and every stream,
+    The romance of some warrior dream!--
+    Oh never may a son of thine,
+    Where'er his wandering steps incline,
+    Forget the sky which bent above
+    His childhood like a dream of love--
+    The stream beneath the green hill flowing--
+    The broad-armed trees above it growing--
+    The clear breeze through the foliage blowing;--
+    Or hear unmoved the taunt of scorn
+    Breathed o'er the brave New England born;--
+    Or mark the stranger's Jaguar hand
+      Disturb the ashes of thy dead--
+    The buried glory of a land
+      Whose soil with noble blood is red,
+    And sanctified in every part,
+    Nor feel resentment like a brand
+    Unsheathing from his fiery heart!
+
+    Oh--greener hills may catch the sun
+      Beneath the glorious heaven of France;
+    And streams rejoicing as they run
+      Like life beneath the day-beam's glance,
+    May wander where the orange bough
+    With golden fruit is bending low;--
+    And there may bend a brighter sky
+    O'er green and classic Italy--
+    And pillared fane and ancient grave
+      Bear record of another time,
+    And over shaft and architrave
+      The green luxuriant ivy climb;--
+    And far towards the rising sun
+      The palm may shake its leaves on high,
+    Where flowers are opening one by one,
+      Like stars upon the twilight sky,
+    And breezes soft as sighs of love
+      Above the rich mimosa stray,
+    And through the Brahmin's sacred grove
+      A thousand bright-hued pinions play!--
+
+    Yet, unto thee, New England, still
+      Thy wandering sons shall stretch their arms,
+    And thy rude chart of rock and hill
+      Seem dearer than the land of palms!
+    Thy massy oak and mountain pine
+      More welcome than the banyan's shade,
+    And every free, blue stream of thine
+      Seem richer than the golden bed
+    Of Oriental waves, which glow
+    And sparkle with the wealth below!
+
+    Land of my fathers!--if my name,
+    Now humble, and unwed to fame,
+    Hereafter burn upon the lip,
+      As one of those which may not die,
+    Linked in eternal fellowship
+      With visions pure and strong and high--
+    If the wild dreams which quicken now
+    The throbbing pulse of heart and brow,
+    Hereafter take a real form
+    Like spectres changed to beings warm;
+    And over temples worn and gray
+      The star-like crown of glory shine,--
+    Thine be the bard's undying lay,
+      The murmur of his praise be thine!
+
+One of the poems in the same number which contained this spirited
+tribute to New England was the song given below, which was signed with
+the initials of the editor, else there might be some hesitation in
+assigning it to him, for there is scarcely anything like it to be found
+in his writings. It was evidently written for music, and some composer
+should undertake it.
+
+
+SONG
+
+    That vow of thine was full and deep
+      As man has ever spoken--
+    A vow within the heart to keep,
+      Unchangeable, unbroken.
+
+    'T was by the glory of the Sun,
+      And by the light of Even,
+    And by the Stars, that, one by one,
+      Are lighted up in Heaven!
+
+    That Even might forget its gold--
+      And Sunlight fade forever--
+    The constant Stars grow dim and cold,--
+      But thy affection--never!
+
+    And Earth might wear a changeful sign,
+      And fickleness the Sky--
+    Yet, even then, that love of thine
+      Might never change nor die.
+
+    The golden Sun is shining yet--
+      And at the fall of Even
+    There 's beauty in the warm Sunset,
+      And Stars are bright in Heaven.
+
+    No change is on the blessed Sky--
+      The quiet Earth has none--
+    Nature has still her constancy,
+      And _Thou_ art changed alone!
+
+The "Review" for September 13, 1830, has a poem of Whittier's prefaced
+by a curious story about Lord Byron:--
+
+_The Spectre._--There is a story going the rounds of our periodicals
+that a Miss G., of respectable family, young and very beautiful,
+attended Lord Byron for nearly a year in the habit of a page. Love,
+desperate and all-engrossing, seems to have been the cause of her
+singular conduct. Neglected at last by the man for whom she had
+forsaken all that woman holds dear, she resolved upon self-destruction,
+and provided herself with poison. Her designs were discovered by Lord
+Byron, who changed the poison for a sleeping potion. Miss G., with that
+delicate feeling of affection which had ever distinguished her
+intercourse with Byron, stole privately away to the funeral vault of
+the Byrons, and fastened the entrance, resolving to spare her lover
+the dreadful knowledge of her fate. She there swallowed the supposed
+poison--and probably died of starvation! She was found dead soon after.
+Lord Byron never adverted to this subject without a thrill of horror.
+The following from his private journal may, perhaps, have some
+connection with it:--
+
+"I awoke from a dream--well! and have not others dreamed?--such a
+dream! I wish the dead would rest forever. Ugh! how my blood
+chilled--and I could not wake--and--and--
+
+                                   "Shadows to-night
+    Have struck more terror to the soul of Richard
+    Than could the substance of ten thousand--
+    Armed all in proof--
+
+"I do not like this dream--I hate its foregone conclusion. And am I to
+be shaken by shadows? Ay, when they remind us of--no matter--but if I
+dream again I will try whether all sleep has the like
+visions."--Moore's "Byron," page 324.
+
+      She came to me last night--
+    The floor gave back no tread,
+    She stood by me in the wan moonlight--
+    In the white robes of the dead--
+    Pale--pale, and very mournfully
+    She bent her light form over me--
+    I heard no sound--I felt no breath
+    Breathe o'er me from that face of death;
+    Its dark eyes rested on my own,
+    Rayless and cold as eyes of stone;
+    Yet in their fixed, unchanging gaze,
+    Something which told of other days--
+    A sadness in their quiet glare,
+    As if Love's smile were frozen there,
+    Came o'er me with an icy thrill--
+    O God! I feel its presence still!
+    And fearfully and dimly
+    The pale cold vision passed,
+    Yet those dark eyes were fixed on me
+    In sadness to the last.
+    I struggled--and my breath came back,
+    As to the victim on the rack,
+    Amid the pause of mortal pain
+    Life steals to suffer once again!
+    Was it a dream? I looked around,
+    The moonlight through the lattice shone;
+    The same pale glow that dimly crowned
+    The forehead of the spectral one!
+    And then I knew she had been there--
+    Not in her breathing loveliness,
+    But as the grave's lone sleepers are,
+    Silent and cold and passionless!
+    A weary thought--a fearful thought--
+    Within the secret heart to keep:
+    Would that the past might be forgot--
+    Would that the dead might sleep!
+
+These are the concluding lines of a long poem written in 1829, while he
+was editing the "American Manufacturer." The poem as a whole was never
+in print; but these lines of it I find in the "Essex Gazette" of August
+22, 1829, from which paper they were copied, as were most of his
+productions of that period, by the newspapers of the country. They were
+never in any collection of his works:--
+
+
+A FRAGMENT
+
+    Lady, farewell! I know thy heart
+    Has angel strength to soar above
+    The cold reserve--the studied art
+    That mock the glowing wings of love.
+    Its thoughts are purer than the pearl
+    That slumbers where the wave is driven,
+    Yet freer than the winds that furl
+    The banners of the clouded heaven.
+    And thou hast been the brightest star
+    That shone along my weary way--
+    Brighter than rainbow visions are,
+    A changeless and enduring ray.
+    Nor will my memory lightly fade
+    From thy pure dreams, high-thoughted girl;--
+    The ocean may forget what made
+    Its blue expanse of waters curl,
+    When the strong winds have passed the sky;
+    Earth in its beauty may forget
+    The recent cloud that floated by;
+    The glories of the last sunset--
+    But not from thy unchanging mind
+    Will fade the dreams of other years,
+    And love will linger far behind,
+    In memory's resting place of tears!
+
+Many of Whittier's early discarded verses are of a rather gruesome
+sort, but more are inspired by contemplation of sublime themes, like
+this apostrophe to "Eternity," which was published in the "New England
+Review" in 1831:--
+
+
+ETERNITY
+
+    Boundless eternity! the winged sands
+      That mark the silent lapse of flitting time
+    Are not for thee; thine awful empire stands
+      From age to age, unchangeable, sublime;
+      Thy domes are spread where thought can never climb,
+    In clouds and darkness where vast pillars rest.
+      I may not fathom thee: 't would seem a crime
+    Thy being of its mystery to divest
+    Or boldly lift thine awful veil with hands unblest.
+
+    Thy ruins are the wrecks of systems; suns
+      Blaze a brief space of age, and are not;
+    Worlds crumble and decay, creation runs
+      To waste--then perishes and is forgot;
+      Yet thou, all changeless, heedest not the blot.
+    Heaven speaks once more in thunder; empty space
+      Trembles and wakes; new worlds in ether float,
+    Teeming with new creative life, and trace
+    Their mighty circles, which others shall displace.
+
+    Thine age is youth, thy youth is hoary age,
+      Ever beginning, never ending, thou
+    Bearest inscribed upon thy ample page,
+      Yesterday, forever, but as now
+      Thou art, thou hast been, shall be: though
+    I feel myself immortal, when on thee
+      I muse, I shrink to nothingness, and bow
+    Myself before thee, dread Eternity,
+    With God coeval, coexisting, still to be.
+
+    I go with thee till time shall be no more,
+      I stand with thee on Time's remotest age,
+    Ten thousand years, ten thousand times told o'er;
+      Still, still with thee my onward course I urge;
+      And now no longer hear the surge
+    Of Time's light billows breaking on the shore
+      Of distant earth; no more the solemn dirge--
+    Requiem of worlds, when such are numbered o'er--
+    Steals by: still thou art on forever more.
+
+    From that dim distance I turn to gaze
+      With fondly searching glance, upon the spot
+    Of brief existence, when I met the blaze
+      Of morning, bursting on my humble cot,
+      And gladness whispered of my happy lot;
+    And now 't is dwindled to a point--a speck--
+      And now 't is nothing, and my eye may not
+    Longer distinguish it amid the wreck
+    Of worlds in ruins, crushed at the Almighty's beck.
+
+    Time--what is time to thee? a passing thought
+      To twice ten thousand ages--a faint spark
+    To twice ten thousand suns; a fibre wrought
+      Into the web of infinite--a cork
+      Balanced against a world: we hardly mark
+    Its being--even its name hath ceased to be;
+      Thy wave hath swept it from us, thy dark
+    Mantle of years, in dim obscurity
+    Hath shrouded it around: Time--what is Time to thee!
+
+In 1832 a living ichneumon was brought to Haverhill, and was on
+exhibition at Frinksborough, a section of Haverhill now known as "the
+borough," on the bank of the river above the railroad bridge. Three
+young ladies of Haverhill went to see it, escorted by Mr. Whittier.
+They found that the animal had succumbed to the New England climate,
+and had just been buried. One of the ladies, Harriet Minot, afterward
+Mrs. Pitman, a life-long friend of the poet, suggested that he should
+write an elegy, and these are the lines he produced:--
+
+
+THE DEAD ICHNEUMON
+
+    Stranger! they have made thy grave
+      By the darkly flowing river;
+    But the washing of its wave
+      Shall disturb thee never!
+    Nor its autumn tides which run
+      Turbid to the rising sun,
+    Nor the harsh and hollow thunder,
+    When its fetters burst asunder,
+    And its winter ice is sweeping,
+    Downward to the ocean's keeping.
+
+    Sleeper! thou canst rest as calm
+      As beside thine own dark stream,
+    In the shadow of the palm,
+      Or the white sand gleam!
+    Though thy grave be never hid
+    By the o'ershadowing pyramid,
+    Frowning o'er the desert sand,
+    Like no work of mortal hand,
+    Telling aye the same proud story
+    Of the old Egyptian glory!
+
+    Wand'rer! would that we might know
+      Something of thy early time--
+    Something of thy weal or woe
+      In thine own far clime!
+    If thy step hath fallen where
+    Those of Cleopatra were,
+    When the Roman cast his crown
+    At a woman's footstool down,
+    Deeming glory's sunshine dim
+    To the smile which welcomed him.
+
+    If beside the reedy Nile
+      Thou hast ever held thy way,
+    Where the embryo crocodile
+      In the damp sedge lay;
+    When the river monster's eye
+    Kindled at thy passing by,
+    And the pliant reeds were bending
+    Where his blackened form was wending,
+    And the basking serpent started
+    Wildly when thy light form darted.
+
+    Thou hast seen the desert steed
+      Mounted by his Arab chief,
+    Passing like some dream of speed,
+      Wonderful and brief!
+    Where the palm-tree's shadows lurk,
+    Thou hast seen the turbaned Turk,
+    Resting in voluptuous pride
+    With his harem at his side,
+    Veiled victims of his will,
+    Scorned and lost, yet lovely still.
+
+    And the samiel hath gone
+      O'er thee like a demon's breath,
+    Marking victims one by one
+      For its master--Death.
+    And the mirage thou hast seen
+    Glittering in the sunny sheen,
+    Like some lake in sunlight sleeping,
+    Where the desert wind was sweeping,
+    And the sandy column gliding,
+    Like some giant onward striding.
+
+    Once the dwellers of thy home
+      Blessed the path thy race had trod,
+    Kneeling in the temple dome
+      To a reptile god;
+    Where the shrine of Isis shone
+    Through the veil before its throne,
+    And the priest with fixed eyes
+    Watched his human sacrifice;
+    And the priestess knelt in prayer,
+    Like some dream of beauty there.
+
+    Thou, unhonored and unknown,
+      Wand'rer o'er the mighty sea!
+    None for thee have reverence shown--
+      None have worshipped thee!
+    Here in vulgar Yankee land,
+    Thou hast passed from hand to hand,
+    And in Frinksborough found a home,
+    Where no change can ever come!
+    What thy closing hours befell
+    None may ask, and none may tell.
+
+    Who hath mourned above thy grave?
+      None--except thy ancient nurse.
+    Well she may--thy being gave
+      Coppers to her purse!
+    Who hath questioned her of thee?
+    None, alas! save maidens three,
+    Here to view thee while in being,
+    Yankee curious, paid for seeing,
+    And would gratis view once more
+    That for which they paid before.
+
+    Yet thy quiet rest may be
+      Envied by the human kind,
+    Who are showing off like thee,
+      To the careless mind,
+    Gifts which torture while they flow,
+    Thoughts which madden while they glow,
+    Pouring out the heart's deep wealth,
+    Proffering quiet, ease, and health,
+    For the fame which comes to them
+    Blended with their requiem!
+
+The following poem, which I have never seen in print, I find in a
+manuscript collection of Whittier's early poems, in the possession of
+his cousin, Ann Wendell, of Philadelphia. It is a political curiosity,
+being a reminiscence of the excitement caused by the mystery of the
+disappearance of William Morgan, in the vicinity of Niagara Falls, in
+1826. It was written in 1830, three years before Whittier became
+especially active in the anti-slavery cause. He was then working in the
+interest of Henry Clay as against Jackson, and the Whigs had adopted
+some of the watchwords of the Anti-Masonic party:--
+
+
+THE GRAVE OF MORGAN
+
+    Wild torrent of the lakes! fling out
+      Thy mighty wave to breeze and sun,
+    And let the rainbow curve above
+      The foldings of thy clouds of dun.
+    Uplift thy earthquake voice, and pour
+    Its thunder to the reeling shore,
+    Till caverned cliff and hanging wood
+    Roll back the echo of thy flood,
+    For there is one who slumbers now
+    Beneath thy bow-encircled brow,
+    Whose spirit hath a voice and sign
+    More strong, more terrible than thine.
+
+    A million hearts have heard that cry
+    Ring upward to the very sky;
+    It thunders still--it cannot sleep,
+    But louder than the troubled deep,
+    When the fierce spirit of the air
+    Hath made his arm of vengeance bare,
+    And wave to wave is calling loud
+    Beneath the veiling thunder-cloud;
+    That potent voice is sounding still--
+    The voice of unrequited ill.
+
+    Dark cataract of the lakes! thy name
+    Unholy deeds have linked to fame.
+    High soars to heaven thy giant head,
+      Even as a monument to him
+    Whose cold unheeded form is laid
+      Down, down amid thy caverns dim.
+    His requiem the fearful tone
+    Of waters falling from their throne
+    In the mid air, his burial shroud
+    The wreathings of thy torrent cloud,
+    His blazonry the rainbow thrown
+    Superbly round thy brow of stone.
+
+    Aye, raise thy voice--the sterner one
+    Which tells of crime in darkness done,
+    Groans upward from thy prison gloom
+    Like voices from the thunder's home.
+    And men have heard it, and the might
+      Of freemen rising from their thrall
+    Shall drag their fetters into light,
+      And spurn and trample on them all.
+    And vengeance long--too long delayed--
+      Shall rouse to wrath the souls of men,
+    And freedom raise her holy head
+      Above the fallen tyrant then.
+
+This poem, which was published in "The Haverhill Gazette" in 1829, was
+copied in many papers of that time, but was never in any collection of
+its author's works:--
+
+
+THE THUNDER SPIRIT
+
+    Dweller of the unpillared air,
+      Marshalling the storm to war,
+    Heralding its presence where
+      Rolls along thy cloudy car!
+    Thou that speakest from on high,
+      Like an earthquake's bursting forth,
+    Sounding through the veiled sky
+      As an angel's trumpet doth.
+
+    Bending from thy dark dominion
+      Like a fierce, revengeful king,
+    Blasting with thy fiery pinion
+      Every high and holy thing;
+    Smitten from their mountain prison
+      Thou hast bid the streams go free,
+    And the ruin's smoke has risen,
+      Like a sacrifice to thee!
+
+          .     .     .     .     .
+
+    Monarch of each cloudy form,
+      Gathered on the blue of heaven,
+    When the trumpet of the storm
+      To thy lip of flame is given!
+    In the wave and in the breeze,
+      In the shadow and the sun,
+    God hath many languages,
+      And thy mighty voice is one!
+
+Here is a poem of Whittier's that will remind every reader of the hymn
+"The Worship of Nature," which first appeared without a title in the
+"Tent on the Beach." And yet there is no line in it, and scarcely a
+phrase, which was used in this last named poem. I find it in the "New
+England Review," of Hartford, under date of January 24, 1831. It would
+seem that "The Worship of Nature" was a favorite theme of his, for a
+still earlier treatment of it I have found in the "Haverhill Gazette"
+of October 5, 1827, written before the poet was twenty years of age. It
+is a curious fact that while in the version of 1827 there are a few
+lines and phrases which were adopted forty years afterward, the lines
+given here are none of them copied in the final revision of the poem.
+
+
+THE WORSHIP OF NATURE
+
+                                  "The air
+      Is glorious with the spirit-march
+    Of messengers of prayer."
+
+    There is a solemn hymn goes up
+      From Nature to the Lord above,
+    And offerings from her incense-cup
+      Are poured in gratitude and love;
+    And from each flower that lifts its eye
+      In modest silence in the shade
+    To the strong woods that kiss the sky
+      A thankful song of praise is made.
+
+    There is no solitude on earth--
+      "In every leaf there is a tongue"--
+    In every glen a voice of mirth--
+      From every hill a hymn is sung;
+    And every wild and hidden dell,
+      Where human footsteps never trod,
+    Is wafting songs of joy, which tell
+      The praises of their maker--God.
+
+    Each mountain gives an altar birth,
+      And has a shrine to worship given;
+    Each breeze which rises from the earth
+      Is loaded with a song of Heaven;
+    Each wave that leaps along the main
+      Sends solemn music on the air,
+    And winds which sweep o'er ocean's plain
+      Bear off their voice of grateful prayer.
+
+    When Night's dark wings are slowly furled
+      And clouds roll off the orient sky,
+    And sunlight bursts upon the world,
+      Like angels' pinions flashing by,
+    A matin hymn unheard will rise
+      From every flower and hill and tree,
+    And songs of joy float up the skies,
+      Like holy anthems from the sea.
+
+    When sunlight dies, and shadows fall,
+      And twilight plumes her rosy wing,
+    Devotion's breath lifts Music's pall,
+      And silvery voices seem to sing.
+    And when the earth falls soft to rest,
+      And young wind's pinions seem to tire,
+    Then the pure streams upon its breast
+      Join their glad sounds with Nature's lyre.
+
+    And when the sky that bends above
+      Is lighted up with spirit fires,
+    A gladdening song of praise and love
+      Is pealing from the sky-tuned lyres;
+    And every star that throws its light
+      From off Creation's bending brow,
+    Is offering on the shrine of Night
+      The same unchanging subject-vow.
+
+    Thus Earth 's a temple vast and fair,
+      Filled with the glorious works of love
+    When earth and sky and sea and air
+      Join in the praise of God above;
+    And still through countless coming years
+      Unwearied songs of praise shall roll
+    On plumes of love to Him who hears
+      The softest strain in Music's soul.
+
+There was a remarkable display of the aurora borealis in January, 1837,
+and this poem commemorates the phenomenon:--
+
+
+THE NORTHERN LIGHTS
+
+    A light is troubling heaven! A strange dull glow
+    Hangs like a half-quenched veil of fire between
+    The blue sky and the earth; and the shorn stars
+    Gleam faint and sickly through it. Day hath left
+    No token of its parting, and the blush
+    With which it welcomed the embrace of Night
+    Has faded from the blue cheek of the West;
+    Yet from the solemn darkness of the North,
+    Stretched o'er the "empty place" by God's own hand,
+    Trembles and waves that curtain of pale fire,--
+    Tingeing with baleful and unnatural hues
+    The winter snows beneath. It is as if
+    Nature's last curse--the fearful plague of fire--
+    Were working in the elements, and the skies
+    Even as a scroll consuming.
+
+                                        Lo, a change!
+    The fiery wonder sinks, and all along
+    A dark deep crimson rests--a sea of blood,
+    Untroubled by a wave. And over all
+    Bendeth a luminous arch of pale, pure white,
+    Clearly contrasted with the blue above,
+    And the dark red beneath it. Glorious!
+    How like a pathway for the Shining Ones,
+    The pure and beautiful intelligences
+    Who minister in Heaven, and offer up
+    Their praise as incense, or like that which rose
+    Before the Pilgrim prophet, when the tread
+    Of the most holy angels brightened it,
+    And in his dream the haunted sleeper saw
+    The ascending and descending of the blest!
+
+    And yet another change! O'er half the sky
+    A long bright flame is trembling, like the sword
+    Of the great angel of the guarded gate
+    Of Paradise, when all the holy streams
+    And beautiful bowers of Eden-land blushed red
+    Beneath its awful wavering, and the eyes
+    Of the outcasts quailed before its glare,
+    As from the immediate questioning of God.
+
+    And men are gazing at these "signs in heaven,"
+    With most unwonted earnestness, and fair
+    And beautiful brows are reddening in the light
+    Of this strange vision of the upper air:
+    Even as the dwellers of Jerusalem
+    Beleaguered by the Romans--when the skies
+    Of Palestine were thronged with fiery shapes,
+    And from Antonia's tower the mailed Jew
+    Saw his own image pictured in the air,
+    Contending with the heathen; and the priest
+    Beside the temple's altar veiled his face
+    From that fire-written language of the sky.
+
+    Oh God of mystery! these fires are thine!
+    Thy breath hath kindled them, and there they burn
+    Amid the permanent glory of Thy heavens,
+    That earliest revelation written out
+    In starry language, visible to all,
+    Lifting unto Thyself the heavy eyes
+    Of the down-looking spirits of the earth!
+    The Indian, leaning on his hunting-bow,
+    Where the ice-mountains hem the frozen pole,
+    And the hoar architect of winter piles
+    With tireless hand his snowy pyramids,
+    Looks upward in deep awe,--while all around
+    The eternal ices kindle with the hues
+    Which tremble on their gleaming pinnacles
+    And sharp cold ridges of enduring frost,--
+    And points his child to the Great Spirit's fire.
+
+    Alas for us who boast of deeper lore,
+    If in the maze of our vague theories,
+    Our speculations, and our restless aim
+    To search the secret, and familiarize
+    The awful things of nature, we forget
+    To own Thy presence in Thy mysteries!
+
+This imitation of "The Old Oaken Bucket" was written in 1826, when
+Whittier was in his nineteenth year, and except a single stanza, no
+part of it was ever before in print. The willow the young poet had in
+mind was on the bank of Country Brook, near Country Bridge, and also
+near the site of Thomas Whittier's log house. Mr. Whittier once pointed
+out this spot to me as one in which he delighted in his youth. On a
+grassy bank, almost encircled by a bend in the stream, stood, and
+perhaps still stands, just such a "storm-battered, water-washed willow"
+as is here described:--
+
+
+THE WILLOW
+
+    Oh, dear to my heart are the scenes which delighted
+    My fancy in moments I ne'er can recall,
+    When each happy hour new pleasures invited,
+    And hope pictured visions more lovely than all.
+    When I gazed with a light heart transported and glowing
+    On the forest-crowned hill, and the rivulet's tide,
+    O'ershaded with tall grass, and rapidly flowing
+    Around the lone willow that stood by its side--
+    The storm-battered willow, the ivy-bound willow, the water-washed
+          willow, that grew by its side.
+
+    Dear scenes of past years, when the objects around me
+    Seemed forms to awaken the transports of joy;
+    Ere yet the dull cares of experience had found me,
+    The dearly-loved visions of youth to destroy,--
+    Ye seem to awaken, whene'er I discover
+    The grass-shadowed rivulet rapidly glide,
+    The green verdant meads of the vale wandering over
+    And laving the willows that stand by its side--
+    The storm-battered willow, the ivy-bound willow, the water-washed
+          willow, that stands by its side;--
+
+    How oft 'neath the shade of that wide-spreading willow
+    I have laid myself down from anxiety free,
+    Reclining my head on the green grassy pillow,
+    That waved round the roots of that dearly-loved tree;
+    Where swift from the far distant uplands descending,
+    In the bright sunbeam sparkling, the rivulet's tide
+    With murmuring echoes came gracefully wending
+    Its course round the willow that stood by its side--
+    The storm-battered willow, the ivy-bound willow, the water-washed
+          willow that stood by its side.
+
+    Haunts of my childhood, that used to awaken
+    Emotions of joy in my infantile breast,
+    Ere yet the fond pleasures of youth had forsaken
+    My bosom, and all the bright dreams you impressed
+    On my memory had faded, ye give not the feeling
+    Of joy that ye did, when I gazed on the tide,
+    As gracefully winding, its currents came stealing
+    Around the lone willow that stood by its side--
+    The storm-battered willow, the ivy-bound willow, the water-washed
+          willow, that stood by its side.
+
+This is a fragment of a poem written in the album of a cousin in
+Philadelphia, in 1838. It was never before in print:--
+
+
+THE USES OF SORROW
+
+    It may be that tears at whiles
+    Should take the place of folly's smiles,
+    When 'neath some Heaven-directed blow,
+    Like those of Horeb's rock, they flow;
+    For sorrows are in mercy given
+    To fit the chastened soul for Heaven;
+    Prompting with woe and weariness
+    Our yearning for that better sky,
+    Which, as the shadows close on this,
+    Grows brighter to the longing eye.
+    For each unwelcome blow may break,
+    Perchance, some chain which binds us here;
+    And clouds around the heart may make
+    The vision of our faith more clear;
+    As through the shadowy veil of even
+    The eye looks farthest into Heaven,
+    On gleams of star, and depths of blue,
+    The fervid sunshine never knew!
+
+In the summer of 1856, Charles A. Dana, then one of the editors of the
+New York "Tribune," wrote to Whittier, calling upon him for campaign
+songs for Fremont. He said: "A powerful means of exciting and
+maintaining the spirit of freedom in the coming decisive contest must
+be songs. If we are to conquer, as I trust in God we are, a great deal
+must be done by that genial and inspiring stimulant." Whittier
+responded with several songs sung during the campaign for free Kansas,
+but the following lines for some reason he desired should appear
+without his name, either in the "National Era," in which they first
+appeared, August 14, 1856, or with the music to which they were set. A
+recently discovered letter, written by him to a friend in Philadelphia
+who was intrusted to set the song to music, avows its authorship, and
+also credits to his sister Elizabeth another song, "Fremont's Ride,"
+published in the same number of the "Era." As the brother probably had
+some hand in the composition of this last-mentioned piece, it is given
+here. This is Whittier's song:--
+
+
+WE 'RE FREE
+
+    The robber o'er the prairie stalks
+      And calls the land his own,
+    And he who talks as Slavery talks
+      Is free to talk alone.
+            But tell the knaves we are not slaves,
+              And tell them slaves we ne'er will be;
+            Come weal or woe, the world shall know.
+              We 're free, we 're free, we 're free.
+
+    Oh, watcher on the outer wall,
+      How wears the night away?
+    I hear the birds of morning call,
+      I see the break of day!
+            Rise, tell the knaves, etc.
+
+    The hands that hold the sword and purse
+      Ere long shall lose their prey;
+    And they who blindly wrought the curse,
+      The curse shall sweep away!
+            Then tell the knaves, etc.
+
+    The land again in peace shall rest,
+      With blood no longer stained;
+    The virgin beauty of the West
+      Shall be no more profaned.
+            We 'll teach the knaves, etc.
+
+    The snake about her cradle twined,
+      Shall infant Kansas tear;
+    And freely on the Western wind
+      Shall float her golden hair!
+            So tell the knaves, etc.
+
+    Then let the idlers stand apart,
+      And cowards shun the fight;
+    We'll band together, heart to heart,
+      Forget, forgive, unite!
+            And tell the knaves we are not slaves,
+              And tell them slaves we ne'er will be;
+            Come weal or woe, the world shall know
+              We 're free, we 're free, we 're free!
+
+It was Whittier's habit to freely suggest lines and even whole stanzas
+for poems submitted to him for criticism, and it may be readily
+believed that his hand is shown in this campaign song of his
+sister's:--
+
+
+FREMONT'S RIDE
+
+    As his mountain men followed, undoubting and bold,
+    O'er hill and o'er desert, through tempest and cold,
+    So the people now burst from each fetter and thrall,
+    And answer with shouting the wild bugle call.
+            Who 'll follow? Who 'll follow?
+              The bands gather fast;
+            They who ride with Fremont
+              Ride in triumph at last!
+
+    Oh, speed the bold riders! fling loose every rein,
+    The race run for freedom is not run in vain;
+    From mountain and prairie, from lake and from sea,
+    Ride gallant and hopeful, ride fearless and free!
+            Who 'll follow, etc.
+
+    The shades of the Fathers for Freedom who died,
+    As they rode in the war storm, now ride at our side;
+    Their great souls shall strengthen our own for the fray,
+    And the glance of our leader make certain the way.
+            Then follow, etc.
+
+    We ride not for honors, ambition or place,
+    But the wrong to redress, and redeem the disgrace;
+    Not for the North, nor for South, but the best good of all,
+    We follow Fremont, and his wild bugle call!
+            Who 'll follow? Who 'll follow?
+              The bands gather fast;
+            They who ride with Fremont
+              Ride in triumph at last!
+
+The following poem was written at the close of his last term at the
+Academy, and was published in the "Haverhill Gazette" of October 4,
+1828, signed "Adrian." Probably no other poem written by him in those
+days was so universally copied by the press of the whole country. Its
+rather pessimistic tone no doubt caused the poet to omit it from
+collections made after the great change in his outlook upon life to
+which reference has been made on another page.
+
+
+THE TIMES
+
+          "Oh dear! oh dear! I grieve, I grieve,
+           For the good old days of Adam and Eve."
+
+    The times, the times, I say, the times are growing worse than ever;
+    The good old ways our fathers trod shall grace their children never.
+    The homely hearth of ancient mirth, all traces of the plough,
+    The places of their worship, are all forgotten now!
+
+    Farewell the farmers' honest looks and independent mien,
+    The tassel of his waving corn, the blossom of the bean,
+    The turnip top, the pumpkin vine, the produce of his toil,
+    Have given place to flower pots, and plants of foreign soil.
+
+    Farewell the pleasant husking match, its merry after scenes,
+    When Indian pudding smoked beside the giant pot of beans;
+    When ladies joined the social band, nor once affected fear,
+    But gave a pretty cheek to kiss for every crimson ear.
+
+    Affected modesty was not the test of virtue then,
+    And few took pains to swoon away at sight of ugly men;
+    For well they knew the purity which woman's heart should own
+    Depends not on appearances, but on the heart alone.
+
+    Farewell unto the buoyancy and openness of youth--
+    The confidence of kindly hearts--the consciousness of truth,
+    The honest tone of sympathy--the language of the heart--
+    Now cursed by fashion's tyranny, or turned aside by art.
+
+    Farewell the social quilting match, the song, the merry play,
+    The whirling of a pewter plate, the merry fines to pay,
+    The mimic marriage brought about by leaping o'er a broom,
+    The good old blind man's buff, the laugh that shook the room.
+
+    Farewell the days of industry--the time has glided by
+    When pretty hands were prettiest in making pumpkin pie.
+    When waiting maids were needed not, and morning brought along
+    The music of the spinning wheel, the milkmaid's careless song.
+
+    Ah, days of artless innocence! Your dwellings are no more,
+    And ye are turning from the path our fathers trod before;
+    The homely hearth of honest mirth, all traces of the plough,
+    The places of their worshiping, are all forgotten now!
+
+I find among Mr. Whittier's papers the first draft of a poem that he
+does not seem to have prepared for publication. As it was written on
+the back of a note he received in March, 1890, that was probably the
+date of its composition:--
+
+
+A SONG OF PRAISES
+
+    For the land that gave me birth;
+    For my native home and hearth;
+    For the change and overturning
+    Of the times of my sojourning;
+    For the world-step forward taken;
+    For an evil way forsaken;
+      For cruel law abolished;
+      For idol shrines demolished;
+    For the tools of peaceful labor
+    Wrought from broken gun and sabre;
+    For the slave-chain rent asunder
+    And by free feet trodden under;
+    For the truth defeating error;
+    For the love that casts out terror;
+    For the truer, clearer vision
+    Of Humanity's great mission;--
+      For all that man upraises,
+      I sing this song of praises.
+
+The following poem is a variant of the "Hymn for the Opening of Thomas
+Starr King's House of Worship," and was contributed in 1883 to a fair
+in aid of an Episcopal chapel at Holderness, N. H.
+
+
+UNITY
+
+    Forgive, O Lord, our severing ways,
+    The separate altars that we raise,
+    The varying tongues that speak Thy praise!
+
+    Suffice it now. In time to be
+    Shall one great temple rise to Thee,
+    Thy church our broad humanity.
+
+    White flowers of love its walls shall climb,
+    Sweet bells of peace shall ring its chime,
+    Its days shall all be holy time.
+
+    The hymn, long sought, shall then be heard,
+    The music of the world's accord,
+    Confessing Christ, the inward word!
+
+    That song shall swell from shore to shore,
+    One faith, one love, one hope restore
+    The seamless garb that Jesus wore!
+
+
+
+
+FOOTNOTES:
+
+[Footnote 1: This story is told more fully in _Life and Letters_, pp.
+53, 54.]
+
+[Footnote 2: This picture is reproduced from a drawing by Miss
+Francesca Alexander in her exquisite volume, _Tuscan Songs_. It is the
+face of an Italian peasant, but bears so extraordinary a resemblance to
+Harriet Livermore (as testified by several who knew her) that it is
+here given as representing her better than any known portrait.]
+
+[Footnote 3: This letter has been published in full in a limited
+edition, by Mr. Goodspeed, together with a New Year's Address referred
+to in it as having given offense to some of the citizens of Rocks
+Village. A portion of this Address (which appeared in the _Haverhill
+Gazette_, January 5, 1828) is given in _Life and Letters_, pp. 62, 63.
+The lines that seem to have given offense are these:--
+
+"_Rocks_ folks are wide awake--their old bridge tumbled
+  Some years ago, and left them all forsaken;
+But they have risen, tired of being humbled,
+  And the first steps towards a new one taken.
+They're all alive--their trade becomes more clever,
+And mobs and riots flourish well as ever."
+
+Thirty-five years later, perhaps remembering the offense he had given
+in his youth by his portrayal of the _liveliness_ of the place, he
+shaded his picture in _The Countess_ with a different pencil, and we
+have a "stranded village" sketched to the life.]
+
+[Footnote 4: It is of curious interest that although the poem
+_Memories_ was first published in 1841, the description of the
+"beautiful and happy girl" in its opening lines is identical with that
+of one of the characters in _Moll Pitcher_, published nine years
+earlier, and I have authority for saying that Mary Smith was in mind
+when that portrait was drawn. Probably the reason why Whittier never
+allowed _Moll Pitcher_ to be collected was because he used lines from
+it in poems written at later dates.]
+
+[Footnote 5: This is how it happened: Mr. Downey saw a newspaper item
+to the effect that Mrs. S. F. Smith was a classmate of Whittier's. He
+knew that his wife was a classmate of Mrs. Smith, and "put this and
+that together." Without saying anything to her about it, he sent a
+tract of his to Whittier, and with it a note about his work as an
+evangelist; in a postscript he said, "Did you ever know Evelina Bray?"
+Whittier wrote a criticism of the tract, which was against Colonel
+Ingersoll, in which he said, "It occurs to me to say that in thy tract
+there is hardly enough charity for that unfortunate man, who, it seems
+to me, is much to be pitied for his darkness of unbelief." He added as
+a postscript, "What does _thee_ know about Evelina Bray?" Downey
+replied that she was his wife, but did not let her know of this
+correspondence, or of his receipt of money from her old schoolmate. He
+was not poor, only eccentric.]
+
+[Footnote 6: This house is now cared for by the Josiah Bartlett chapter
+of the Daughters of the Revolution.]
+
+[Footnote 7: The house of these brothers and the barn in which the
+husking was held may be seen near the West Ossipee station of the
+Boston and Maine Railroad. The Bearcamp House was burned many years
+ago, and never rebuilt.]
+
+[Footnote 8: There was a forest fire on a shoulder of Chocorua at this
+time.]
+
+[Footnote 9: She was knitting at the time.]
+
+[Footnote 10: She had refused to sing that evening.]
+
+[Footnote 11: Lucy Larcom was then suffering from hay fever.]
+
+[Footnote 12: The papers had an item to the effect that some one had
+given Whittier a cottage at the Isles of Shoals.]
+
+[Footnote 13: The only lawyer present.]
+
+[Footnote 14: A line is here missing. I had the copy of this poem from
+Mr. Weld himself when he was ninety years of age. He had accidentally
+omitted it in copying for me; and his death occurred before the
+omission was noticed.]
+
+
+
+
+INDEX
+
+
+
+
+INDEX
+
+
+"Abram Morrison," 86.
+
+"Adrian," 152.
+
+Agamenticus, 86, 89.
+
+Aldrich, T. B., 75.
+
+Allinson, Francis Greenleaf, 39.
+
+Allinson, W. J., 39.
+
+American Manufacturer, 69, 71, 102, 136.
+
+Amesbury, 3, 42, 55-89.
+
+Amesbury public library, 95.
+
+Ancient desk, 20.
+
+Andover, 5.
+
+Anecdotes as told by Whittier:
+  Aunt Mercy's vision, 22, 23;
+  Country Bridge ghost, 15;
+  conscience stirred by thunderstorm, 27;
+  Elizabeth's practical joke, 28;
+  the "tipsy wife," 31, 32;
+  cold drives to Amesbury, 33;
+  "Old Butler," 36;
+  the Morse boys, 36;
+  Garrison's first visit, 37;
+  a Quaker swaps cows, 37;
+  "the power of figures," 40-42;
+  instance of guidance of spirit, 82, 83;
+  legend of Po Hill, 85, 86;
+  Chase characterizes Lincoln's stories, 98;
+  Hiram Collins and Emerson, 98, 99.
+
+Anecdotes related of Whittier:
+  Last visit to birthplace, 24-38;
+  the fire on the hearth, 26;
+  attempt at levitation, 28;
+  visits site of "In School Days," 32;
+  cherry-tree incident, 34;
+  story of Evelina Bray, 68-72;
+  receives lightning stroke, 73;
+  taking notes at Quaker meeting, 82;
+  sees mirage at Salisbury Beach, 91;
+  Miss Phelps describes first meeting, 102;
+  thirteen at table, 93, 94;
+  clock strikes mysteriously, 95;
+  the May Quarterly Meeting, 96;
+  saving money for funeral expenses, 96;
+  the pet parrot, 97, 98;
+  husking at West Ossipee, 111-114;
+  an evening at Bearcamp, 114-118;
+  Alice Freeman Palmer's story, 118, 119;
+  contract of perpetual bachelorhood, 119;
+  his English Quaker guest, 122;
+  escapes dedication of Bartlett statue, 122.
+
+Anti-Masonic poem, 141.
+
+Appledore, 92.
+
+Artichoke River, 57, 58.
+
+"A Sea Dream," 69.
+
+"A Song of Praises," 153, 154.
+
+Ayer, Capt. Edmund, 29, 30.
+
+Ayer, Lydia, 26, 30.
+
+Ayer, Lydia Amanda (Mrs. Evans), 30.
+
+Ayer, Mrs., 117.
+
+
+Bagley, Valentine, 84.
+
+Bailey, Mary, 116.
+
+Bailey's Hill, 83.
+
+Bancroft, George, 64.
+
+Barnard, Mary, 96.
+
+Bartlett, Josiah, 84, 122-125.
+
+Bearcamp House, 110-117.
+
+Beecher, Catherine, 70.
+
+Beecher, Henry Ward, 76.
+
+Birchy Meadow, 44.
+
+Birthplace of Whittier, 8, 9-40.
+
+Blaine, James G., 64, 77, 78.
+
+Boar's Head, 86, 89.
+
+Bonny Beag, 86.
+
+Boon Island, 86.
+
+Boston "Statesman," 102.
+
+Boutelle, Thomas E., 99.
+
+Boyd, Rev. P. S., 4.
+
+Boynton, E. Moody, 122-124.
+
+Bradbury, Judge, and wife, 56.
+
+Bradford, 3.
+
+Bradstreet, Anne, 5.
+
+Bray, Evelina, 68, 71.
+
+Brown's Hill, 84.
+
+Burnham, Thomas E., 38.
+
+Burroughs, George, 101.
+
+Butler, Benjamin F., 36.
+
+Butler, Philip, 76.
+
+Butters, Charles, 38.
+
+Byron, Lord, 134-136.
+
+
+Caldwell, Adelaide, 112, 113, 117.
+
+Caldwell, Louis, 113.
+
+Caldwell, Mary (Whittier), 25, 74.
+
+Cape Ann, 86.
+
+Captain's Well, The, 83, 84.
+
+Carleton, James H., 38.
+
+Cartland, Gertrude (Whittier), 20, 104, 113.
+
+Cartland house, Newburyport, 20, 101.
+
+Cartland, Joseph, 82, 85, 92, 104, 113.
+
+Catalogue of father's library, 24, 25.
+
+Cate, George W., 101.
+
+Centre Harbor, N. H., 99, 110, 113.
+
+Chain Bridge, 59, 60.
+
+Chamber in which Whittier died, 94.
+
+"Changeling, The," 92.
+
+Chase, Aaron, 30, 32.
+
+Chase, Mrs. Moses, 32.
+
+Chase, Salmon P., 98.
+
+Child, Lydia Maria, 75.
+
+Chocorua, 110-115.
+
+Churchill, J. W., 123.
+
+Claflin, William, 102, 118.
+
+Clarkson, Thomas, 25.
+
+Clay, Henry, 77, 141.
+
+"Cobbler Keezar's Vision," 86.
+
+Coffin, Joshua, 26, 30, 31, 103, 104.
+
+Coggswell, William, 64.
+
+Collier, Rev. William R., 102.
+
+Collins, Hiram, 124.
+
+"Common Question, The," 97.
+
+Corliss Hill, 30-32.
+
+"Countess, The," 47, 51.
+
+Country Bridge, 14, 15, 46.
+
+Country Brook, 14-17, 104.
+
+Crane Neck, 86.
+
+Currier, Horace, 117.
+
+Curson's Mill, 57, 58.
+
+Cushing, Caleb, 5.
+
+
+Dana, Charles A., 149.
+
+Danvers, 86.
+
+Daughters of the Revolution, 84.
+
+Davis, Robert T., 122.
+
+Deer Island, 5, 58-60.
+
+Dickens, Charles, 108.
+
+"Division, The," 109.
+
+Douglass, Frederick, 64.
+
+Downey, Evelina (Bray), 71.
+
+Downey, W. S., 70.
+
+Duncan, Sarah M. F., 38.
+
+Dustin, Hannah, 40.
+
+
+East Haverhill, 3.
+
+East Haverhill church, 51.
+
+Ela, Amelia, 19.
+
+"Eleanor," 46.
+
+Ellwood's "Drab-Skirted Muse," 25.
+
+Emerson, Nehemiah, 66.
+
+Emerson, Ralph Waldo, 65, 99.
+
+Emmons, "Ginger-Pop," 124.
+
+Essex Club, 64.
+
+"Eternal Goodness, The," 63, 107.
+
+"Eternity," 137, 138.
+
+"Exiles, The," 84.
+
+
+Fernside Brook, 9, 11, 12, 16, 17.
+
+Ferry, the, 75.
+
+Fields, Annie, 102.
+
+Fields, James T., 46, 102.
+
+Fletcher, Rev. J. C., 58, 89, 92.
+
+Ford, Miss, 112, 116.
+
+"Fountain, The," 87.
+
+Fox, George, 25, 47.
+
+"Fragment, A," 136.
+
+Frankle, Annie W., 38.
+
+Fremont, J. C., 149.
+
+Friend Street, 58.
+
+Friends' meeting-house, 33, 80, 81.
+
+Frietchie, Barbara, 65.
+
+Frinksborough, 138.
+
+
+"Gail Hamilton's Wedding," 120-122.
+
+Garden at birthplace, 18.
+
+Garden room, Amesbury, 32, 62-71.
+
+Garrison, William Lloyd, 37, 76, 103, 104.
+
+Garrison's birthplace, 103.
+
+Golden Hill, 8.
+
+Goodspeed, C. E., 51 note. (TR: now Footnote 3)
+
+"Goody" Martin, 56, 57, 84.
+
+Gordon, "Chinese," 65.
+
+Gove, Sarah Abby, 92, 93.
+
+"Grave of Morgan, The," 142, 143.
+
+Green, Ruth, 29.
+
+Greene, Nathaniel, 102.
+
+Greenleaf, Sarah, 20, 22, 29, 103.
+
+Grimke, Angelina, 119.
+
+Group at Sturtevant's, 113.
+
+Groveland, 3.
+
+
+"Hamilton, Gail," 108, 120-122.
+
+Hampton Beach, 86, 88.
+
+Hampton Falls, 92, 93.
+
+Hampton marshes, 92.
+
+Hampton River, 88.
+
+Haskell, George, 40.
+
+"Haunted Bridge of Country Brook," 15.
+
+Haverhill, 3, 7.
+
+Haverhill Academy, 6, 129.
+
+"Haverhill Gazette," 24, 48, 136, 143, 152.
+
+Hawkswood, 58.
+
+Hay, John, 75.
+
+Higginson, Thomas Wentworth, 78.
+
+Hines, Peter, 117.
+
+Hoar, George F., 64.
+
+Holmes, Oliver Wendell, 108.
+
+"Homecoming of the Bride, The," 15, 104.
+
+How, George C., 38.
+
+"How they climbed Chocorua," 111.
+
+Howe, Julia Ward, 75.
+
+Hume, Isabel, 116.
+
+Huntington, Jacob R., 84, 122.
+
+Hussey, Mercy Evans, 22, 26, 61, 62, 85.
+
+
+Ichneumon, the living, 138.
+
+"In School Days," 26, 30, 32.
+
+Ipswich, 86.
+
+Ireson, Capt. Benjamin, 72.
+
+Isles of Shoals, 86, 89, 91, 117.
+
+"I would not lose that Romance Wild," 130.
+
+
+Jackson, Andrew, 141.
+
+Job's Hill, 9, 12, 17, 36.
+
+Johnson, Caroline, 101.
+
+Johnson, Mary, 101.
+
+"June on the Merrimac," 58.
+
+"Justice and Expediency," 22.
+
+
+Kansas, 150, 151.
+
+Kearsarge, 86.
+
+Kelley, Clarence E., 38.
+
+Kimball's Pond, 95.
+
+Kitchen at birthplace, 17, 19, 21, 23
+
+Knox brothers, 110-115.
+
+
+Ladd, "Squire," 32.
+
+Lake Kenoza, 8, 10.
+
+Lansing, Miss, 111, 116.
+
+Larcom, Lucy, 111, 114, 116.
+
+"Last Walk in Autumn, The," 56.
+
+"Last Will of Man in Bear-Trap, The," 116-118.
+
+"Laurels, The," 58.
+
+Lee, N. H., 100.
+
+Little Boar's Head, 86.
+
+Livermore, Harriet, 39, 101.
+
+Lloyd, Elizabeth, 34.
+
+Longfellow, Henry W., 65, 108.
+
+Lowell, James Russell, 108.
+
+
+"Mabel Martin," 56, 84.
+
+Macy house, 84.
+
+Macy, Thomas, 84.
+
+"Maids of Attitash, The," 95.
+
+Map of Whittier-Land, xii.
+
+Marlboro Hotel, 102.
+
+"Memorial, A," 98.
+
+"Memories," 66.
+
+Menahga, 46.
+
+Merrimac, town, 3, 44, 82.
+
+Merrimac River, 3, 4, 44, 56, 58, 60.
+
+Millvale, 15, 46, 104.
+
+Minot, Harriet (Mrs. Pitman), 138.
+
+"Miriam," 86.
+
+Mitford, Mary Russell, 75.
+
+"Moll Pitcher," 66 note (TR: now Footnote 4), 131.
+
+Monadnock, 33, 86.
+
+Morgan, William, 141.
+
+Morrill, Jettie, 116.
+
+Morse, "Goody," 104.
+
+Mother's room, 22, 23.
+
+Moulton house, Hampton, 92.
+
+Moulton's Hill, 58.
+
+Mount Washington, 86.
+
+Mundy Hill, 84, 87.
+
+"My Double," 123-125.
+
+"My Namesake," 39.
+
+"My Playmate," 44, 46, 67.
+
+
+"Name, A," 74.
+
+"National Era," 76, 150.
+
+Newbury, 3, 14, 32, 44, 56, 58, 86, 103.
+
+Newburyport, 3, 86.
+
+"New England," 131-134.
+
+"New England Review," 43, 76, 131, 137.
+
+New York "Tribune," 149.
+
+"New Wife and the Old, The," 92.
+
+Niagara Falls, 141.
+
+Nicholson, Elizabeth, 34.
+
+"Northern Lights, The," 146, 147.
+
+Nottingham, N. H., 96.
+
+
+Oak Knoll, Danvers, 99, 101, 122, 123.
+
+Ode for dedication of Academy, 7.
+
+"Old Burying Ground, The," 51.
+
+"Old Oaken Bucket, The," 147.
+
+Old South meeting-house, Newburyport, 103, 104.
+
+"One of the Signers," 122.
+
+Ordway, Alfred A., 17-19, 35, 38, 46.
+
+Ossipee range, 86.
+
+"Our River," 58.
+
+"Ours," 79, 80.
+
+
+Palmer, Alice Freeman, 118, 119.
+
+Passaconaway, 86.
+
+Pawtuckaway range, 95.
+
+Peaslee house, "Old Garrison," 46, 47, 55.
+
+Peaslee, Joseph, 47.
+
+Peaslee, Mary, 29, 46.
+
+"Pennsylvania Freeman," 61, 70, 76.
+
+Pennsylvania Hall, 119.
+
+Pickard, Elizabeth (Whittier), 20, 22, 39, 71, 74, 75, 85, 90, 94,
+109, 116.
+
+Pickard, Greenleaf Whittier, 74, 94.
+
+Pickard, S. T., 116, 117.
+
+Pillsbury, Mary, 35.
+
+Pleasant Valley, 55, 58.
+
+Plum Island, 86.
+
+Plummer, Celeste, 112, 116.
+
+Poems hitherto uncollected:
+  Ode sung at dedication of Academy, 7;
+  Catalogue of his father's library, 22;
+  Lines in album, 30;
+  "A Retrospect," 35;
+  "The Plaint of the Merrimac," 59, 60;
+  "The Division," 109;
+  "How they climbed Chocorua," 111-114;
+  "To the Unknown and Absent Author of 'How they climbed Chocorua,'"
+      114, 115;
+  "Last Will of Man in Bear-Trap," 116-118;
+  Weld epithalamium, 119, 120;
+  "Gail Hamilton's Wedding," 120-122;
+  "My Double," 123-125;
+  "I would not lose that Romance Wild," 130;
+   "New England," 131-133;
+  "That Vow of Thine," 133, 134;
+  "The Spectre," 135, 136;
+  "A Fragment," 136, 137;
+  "Eternity," 137, 138;
+  "Dead Ichneumon," 139-141;
+  "Grave of Morgan," 142, 143;
+  "The Thunder Spirit," 143;
+  "Worship of Nature," 144, 145;
+  "Northern Lights," 146, 147;
+  "The Willow," 148, 149;
+  "Uses of Sorrow," 149;
+  "We're Free," 150, 151;
+  "Fremont's Ride," 151, 152;
+  "The Times," 152, 153;
+  "Song of Praises," 153, 154.
+
+Po Hill, 33, 57, 84, 87.
+
+Pond Hills, 44.
+
+Porter, Dudley, 38.
+
+Porter, J. S., 25, 71.
+
+Portland, 20, 22, 118.
+
+Powow River, 56, 57, 60, 79, 83, 84, 86-87, 88.
+
+"Preacher, The," 84.
+
+"Pressed Gentian, The," 64.
+
+Purchase of birthplace, 38.
+
+
+Ramoth Hill, 46, 67.
+
+"Relic, The," 64.
+
+"Revisited," 58.
+
+Reunion of schoolmates, 70.
+
+River Path, picture of, 5.
+
+"River Path, The," 49, 55, 56.
+
+River valley, near grave of Countess, 49.
+
+Rocks Bridge, 48.
+
+Rocks Village, 32, 44, 46, 51, 55.
+
+Rocky Hill, 84.
+
+Rocky Hill meeting-house, 87, 89.
+
+Rogers, John, 125.
+
+Rowley, 86.
+
+
+Salisbury, 3, 14.
+
+Salisbury Beach, 86, 88, 89.
+
+Salisbury Point, 77.
+
+Saltonstall mansion, 45.
+
+Sanders, Susan B., 38.
+
+"Sea Dream, A," 69.
+
+Scene on Country Brook, 43.
+
+Sewel's "Painful History," 25.
+
+Silver Hill, 8, 10.
+
+Smith, Joseph Lindon, 26.
+
+Smith, Mary Emerson, 66, 67.
+
+Smith, S. F., 71, 72.
+
+Smith, Mrs. S. F., 71, 72.
+
+"Snow-Bound," 12, 20, 24, 39, 48, 63, 74.
+
+Snow-Bound barn, 12.
+
+Snow-Bound kitchen, 12, 17-52.
+
+Somersworth, N. H., 22.
+
+"Song of Praises, A," 153, 154.
+
+Sparhawk, Dr. Thomas, 76.
+
+"Spectre, The," 135, 136.
+
+Spofford, Harriet Prescott, 5, 59.
+
+Stanton, Edwin M., 84.
+
+Stowe, Harriet Beecher, 75.
+
+Sturge, Joseph, 61, 63-65.
+
+Sturtevant, Miss, 112.
+
+Sturtevant, Mrs., 117.
+
+Sturtevant's, 110, 113.
+
+Sumner, Charles, 108.
+
+Sycamores, the, 8, 45.
+
+
+Tallant, Hugh, 45.
+
+Tappan, Lewis, 62.
+
+Taylor, Bayard, 65.
+
+Taylor, Henry, 98, 99.
+
+Taylor, Marie, 66.
+
+"Telling the Bees," 17.
+
+"Tent on the Beach, The," 74, 87, 90, 91.
+
+"That Vow of Thine," 133, 134.
+
+Thaxter, Celia, 92.
+
+Thayer, Abijah W., 24.
+
+Thayer, Sarah S., 24.
+
+Thomas, Mary Emerson (Smith), 66, 67.
+
+Thoreau, Henry D., 5.
+
+Thornton, Sir Edward, 58.
+
+"Times, The," 152, 153.
+
+"To My Old Schoolmaster," 30, 104.
+
+Tracy, Mrs., 49.
+
+Trowbridge, J. T., 28, 40.
+
+Turner, Judge, 77.
+
+
+Union Cemetery, 29, 57, 84, 85.
+
+"Unity," 154.
+
+"Up and Down the Merrimac," 4.
+
+"Uses of Sorrow, The," 149.
+
+
+Wachusett, 33, 86.
+
+Wade, Mrs., 113.
+
+Wakeman, Rev. Mr., 94.
+
+Ward, Elizabeth Phelps, 102.
+
+Washington, George, 45, 60.
+
+Weld, Dr. Elias, 48-50, 66.
+
+Weld, Theodore D., 51, 119.
+
+Wendell, Ann, 141.
+
+"We 're Free," 150, 151.
+
+West, Mary S., 46.
+
+West Ossipee, N. H., 110, 111.
+
+Whiteface, 86.
+
+Whitefield church, 103.
+
+Whitefield, George, 103, 104.
+
+Whittier, Abigail, 22-24, 26, 74, 78.
+
+Whittier, Elizabeth H., 28, 34, 61, 62, 74, 75, 78, 85, 90-92, 150.
+
+Whittier Hill, 14, 84.
+
+Whittier home, Amesbury, 61-79, 86.
+
+Whittier, John, 12, 20, 24, 85.
+
+Whittier, John Greenleaf,
+  reviews Boyd's "Up and Down the Merrimac," 4;
+  interest in psychical research, 23;
+  catalogues his father's library, 24, 25; his
+  early pessimism, 42-44, 129;
+  letter to Dr. Weld, 50, 51;
+  carrier's address quoted, 51 note; (TR: now Footnote 3)
+  removal to Amesbury, 60, 61;
+  tribute of Essex Club, 64;
+  friendship for schoolmates, 66-72;
+  reason why never married, 68;
+  portrait at age of twenty-two, 69;
+  prostrated by lightning, 73;
+  person referred to in "Memories" and "My Playmate," 67;
+  receives bullet wound, 76;
+  at town meeting, 77;
+  home life sketched by Higginson, 78;
+  plans Friends' meeting-house, 80;
+  preferred silent meetings, 81, 82;
+  interest in psychical research, 83;
+  his cemetery lot, 85;
+  care for Amesbury public library, 96;
+  portrait at age of forty-nine, 97;
+  his Boston homes, 102;
+  letter to Newbury celebration, 103, 104;
+  radical change in his spirit, 129;
+  peculiarity of his laugh, 108.
+
+Whittier, Joseph, 20, 29, 47.
+
+Whittier, Joseph, 2d, 29.
+
+Whittier, Mary, 26, 29.
+
+Whittier, Matthew Franklin, 26, 37, 65, 74, 85, 100.
+
+Whittier mill, 18.
+
+Whittier, Moses, 12, 20, 75, 85.
+
+Whittier, Obadiah, 75.
+
+Whittier, Thomas, 14, 15, 29, 46.
+
+"Willow, The," 148, 149.
+
+Winthrop Hotel, 102.
+
+Winthrop, Robert C., 64.
+
+"Witch's Daughter, The," 56.
+
+"Wood Giant, The," 99, 100.
+
+Woodman, Mrs. Abby, 101.
+
+"Worship of Nature, The," 144, 145.
+
+"Wreck of Rivermouth, The," 88.
+
+
+
+
+A LIST OF THE WORKS
+
+OF
+
+JOHN GREENLEAF WHITTIER
+
+
+
+
+[Illustration: (decoration)]
+
+Writings of
+JOHN GREENLEAF WHITTIER
+
+_No edition of the Poetical and Prose Writings of John Greenleaf
+Whittier is complete and authorized which does not bear the imprint of
+Houghton Mifflin Company._
+
+
+COMPLETE WORKS
+
+_Riverside Edition._ In 7 volumes.
+
+
+_POETRY_
+
+1. Narrative and Legendary Poems.
+
+2. Poems of Nature; Poems Subjective and Reminiscent; Religious Poems.
+
+3. Anti-Slavery; Songs of Labor and Reform.
+
+4. Personal Poems; Occasional Poems; Tent on the Beach; Appendix.
+
+
+_PROSE_
+
+1. Margaret Smith's Journal; Tales and Sketches.
+
+2. Old Portraits and Modern Sketches; Personal Sketches and Tributes;
+Historical Papers.
+
+3. The Conflict with Slavery; Politics and Reform; The Inner Life;
+Criticism.
+
+     Each volume, crown 8vo, gilt top; the set, $10.50. With
+     "Life of Whittier" (2 vols.) by SAMUEL T. PICKARD, 9 vols.,
+     $14.50.
+
+
+PROSE WORKS
+
+_Riverside Edition._ With Notes by the Author, and etched Portrait. 3
+vols. crown 8vo, gilt top, $4.50.
+
+
+POEMS
+
+_Riverside Edition._ With Portraits, Notes, etc. 4 vols., crown 8vo,
+gilt top, $6.00.
+
+_Handy-Volume Edition._ With Portraits, and a View of Whittier's Oak
+Knoll Home. 4 vols., 16mo, gilt top, in cloth box, $4.00. Bound in
+full, flexible leather, $10.00.
+
+_Cambridge Edition._ With a Biographical Sketch, Notes, Index to Titles
+and First Lines, a Portrait, and an engraving of Whittier's Amesbury
+Home. Large crown 8vo, gilt top, $2.00.
+
+_Library Edition._ With Portrait and 8 full-page Photogravures. 8vo,
+gilt top, $2.50.
+
+_Household Edition._ With Portrait and Illustrations. Crown 8vo, $1.50.
+
+_Cabinet Edition._ From new plates, with numbered lines, and Portrait.
+16mo, gilt top, $1.00.
+
+
+_SEPARATE POEMS_
+
+=Snow-Bound.= A Winter Idyl. _Holiday Edition._ With eight
+Photogravures and Portrait. 16mo, gilt top, $1.50.
+
+=The Tent on the Beach.= _Holiday Edition._ With rubricated Initials
+and 12 full-page Photogravure Illustrations by CHARLES H. WOODBURY and
+MARCIA O. WOODBURY. 12mo, gilt top, $1.50.
+
+=At Sundown.= With Portrait and 8 Photogravures. 16mo, gilt top, $1.50.
+
+=Legends and Lyrics.= 16mo, gilt top, 75 cents.
+
+
+COMPILATIONS
+
+=Birthday Book.= With Portrait and 12 Illustrations. 18mo, $1.00.
+
+=Calendar Book.= 32mo, parchment-paper, 25 cents.
+
+=Year Book.= With Portrait. 18mo, $1.00.
+
+=Text and Verse.= For Every Day in the Year. Scripture Passages and
+Parallel Selections from WHITTIER'S Writings. 32mo, 75 cents.
+
+
+EDITED BY MR. WHITTIER
+
+=Songs of Three Centuries.= _Library Edition._ With 40 full-page
+Illustrations. 8vo, gilt top, $2.50.
+
+_Household Edition._ Much enlarged. Crown 8vo, $1.50.
+
+=Child-Life.= A Collection of Poems for and about Children. _New
+Edition._ Finely Illustrated. 4to, $1.50.
+
+=Child-Life in Prose.= A Volume of Stories, Fancies, and Memories of
+Child-Life. Finely Illustrated. Crown 8vo, gilt top, $2.00.
+
+
+Many of the above editions may be had in leather bindings of various
+styles.
+
+HOUGHTON MIFFLIN COMPANY
+
+4 Park Street, Boston. 85 Fifth Ave., New York
+
+[Illustration: (decoration)]
+
+
+
+
+       *       *       *       *       *
+
+Transcriber's Notes
+
+
+Contents: Added listing for Footnotes.
+
+Some illustrations have been moved to avoid breaking up poems and
+paragraphs of text. The List of Illustrations displays the original
+page numbers.
+
+Spaced contractions have been retained from the original book.
+
+Omitted lines of poetry are indicated by a row of 5 dots.
+
+Bold text is indicated by =.
+
+Italic text is indicated by _.
+
+Index: Corrected page references for:
+  Hussey, Mercy Evans, from 21 to 22.
+  Whittier, John Greenleaf,
+    portrait at age of forty-nine, from 95 to 97.
+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of Whittier-land, by Samuel T.  Pickard
+
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