Cornell University Library The original of tliis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924089403848 CONTEMPORARIES BY THOMAS WENTWORTH HIGGINSON BOSTON AND NEW YORK HOUGHTON, MIFFLIN AND COMPANY gtiie SJitjetiSibe ptt^^, CamitiBBe MDCCCXCIX COPYHIGHT, 1S99, BY THOMAS WENTWORTH HIGGINSON ALL RIGHTS RESERVED NOTE Most of the sketches included in this volume have appeared at different times, and often un- signed, either in the " Atlantic Monthly " or in the New York " Nation," the rest having been printed respectively in the " Century Magazine," the " Chautauquan," and the "Independent," in the " Correspondence " of Dr. T. W. Harris, in Redpath's "Life of Captain John Brown," and in "Eminent Women of the Age." They are now brought together and reprinted, partly from the natural instinct of preserving one's own work, and partly because a group of such personal delineations has some increase of value when recognized as proceeding from one mind, and thus expressing the same general point of view. These papers have all received such revision as was made necessary by the develop- ment of new facts or by the reconsideration of opinions ; the only exception to this being in the case of one paper of a strictly narrative nature, which it was thought best to leave untouched, as the only mode of preserving the precise at- mosphere of the thrilling period when it was originally written. CONTENTS PAGE RALPH WALDO EMEKSON I AMOS BRONSON ALCOTT 23 THEODORE PARKER 34 JOHN GREENLEAF WHITTIER 60 WALT WHITMAN 72 SIDNEY LANIER 85 AN EVENING WITH MRS. HAWTHORNE . . . 102 LYDIA MARIA CHILD I08 HELEN JACKSON (" H. H.") I42 JOHN HOLMES 168 THADDEUS WILLIAM HARRIS I92 A VISIT TO JOHN BROWN'S HOUSEHOLD IN 1859 . 219 WILLIAM LLOYD GARRISON 244 WENDELL PHILLIPS 257 CHARLES SUMNER 280 DR. HOWE'S ANTI-SLAVERY CAREER .... 294 ULYSSES SIMPSON GRANT 302 THE ECCENTRICITIES OF REFORMERS . . . 329 THE ROAD TO ENGLAND 349 INDEX 37S CONTEMPORARIES RALPH WALDO EMERSON Ralph Waldo Emerson was born in Bos- ton, Mass., May 25, 1803, being the son of the Rev. William Emerson and Ruth (Haskins) Emerson. The Rev. William Emerson was one of the most eminent of the Boston clergy of his day; and his father, also named William, was the minister of Concord at the time of the " Concord fight," and had on the Sunday pre- vious preached from the text, "Resistance to tyrants is obedience to God." On the mother's side, as well as on the father's, Ralph Waldo Emerson came not merely of unmixed New England blood, but of an emphatically clerical stock. He had had a minister among his an- cestors in every generation for eight genera- tions back, on the one side or the other. Like his friend and teacher, William EUery Chan- ning, he was reared under the especial and controlling influence of strong women, for his father died when he was but eight years old, so 2 CONTEMPORARIES that his mother and his aunt, Miss Mary Emer- son, were the guiding influences of his early life. The Rev. Dr. Frothingham once wrote of Mrs. Emerson, the elder : " Both her mind and character were of a superior order, and they set their stamp upon manners of peculiar softness and natural grace and quiet dignity." Mrs. Ripley wrote of Miss Mary Emerson, "Her power over the minds of her young friends was almost despotic ; " and her eminent nephew said of her that her influence upon him was as great as that of Greece or Rome. The household atmosphere was one of " plain living and high thinking," and Mr. Emerson used to relate, according to Mr. Cooke, that he had once gone without the second volume of a book because his aunt had convinced him that his mother could not afford to pay six cents for it at the circulating library. He was fitted for Harvard College at the public schools of Bos- ton, and when he entered, at the age of four- teen, in 1817, he became " President's fresh- man," as the position was then called, doing official errands for compensation. He was then described as being "a slender, delicate youth, younger than most of his classmates, and of a sensitive, retiring nature." All his college careef showed the conscien- tiousness which was to control his life, and also RALPH WALDO EMERSON 3 his strong literary tendency. In his junior year he won a " Bowdoin prize " for an essay on " The Character of Socrates," and again in his senior year a second prize for a dissertation on "The Present State of Ethical Philosophy," these two being the only opportunities then afforded by the college for such competition. He also won a " Boylston prize " for declama- tion, was Class Poet, and had a "part " at Com- mencement in a conference on the character of John Knox. Josiah Quincy, of Boston, a member of the same class, remarked in his col- lege diary, as quoted by himself in the " New York Independent," that Emerson's disserta- tion on ethics was " dull and dry." As he him- self had won the first prize, his criticism could have afforded, it would seem, to be generous ; but as he also regarded Emerson's Class Day poem as "rather poor," it is necessary to re- member that there is no known criticism quite so merciless as that of college boys on one another. At any rate it was with these creden- tials that Emerson went forth to the world in 1821 ; and as his destiny was to be literature, we must pause for a moment to consider what then was the condition of this nation in that regard. We must remember that it was only the po- litical life of America which came into being 4 CONTEMPORARIES in 1776 : its literary life was not yet born ; and though Horace Walpole had written two years earlier that there would one day be a Thucydi- des in Boston and a Xenophon in New York, nobody on this side of the Atlantic believed it, or even stopped to think about it. The Gov- ernment was born with such travail, and this was prolonged for so many years, that the thoughts of public men went little farther. Fisher Ames wrote about 1807 an essay on "American Literature" to prove that there would never be any such thing. He said : — " Except the authors of two able works on our pohtics we have no authors. Shall we match Joel Barlow against Homer or Hesiod ? Can Thomas Paine contend against Plato .' " ^ He then shows how in each department of liter- ature America is probably foredoomed to fail, and closes with the hopeful suggestion that, when liberty shall yield to despotism, literature and luxury may arrive together. It is well known that John Adams, a few years later, took a somewhat similar view of affairs. He wrote in 1819 to a French artist who wished to make a bust of him : — " The age of sculpture and painting has not yet arrived in this country, and I hope it will not arrive very soon. I would not give six- 1 Works of Fisher Ames, pp. 460, 461. ' RALPH WALDO EMERSON 5 pence for a picture of Raphael or a statue of Phidias." When we wonder at the political ability of that day, we must remember that men concen- trated absolutely everything upon it ; they could not give even a thought to creating a cultivated nation ; the thing that amazes us is that they should have created a nation at all. Two years after John Adams had made the above remark about painting, and only four- teen years after Fisher Ames had written thus hopelessly of American literature, Emerson was graduated at Harvard. It is to be noted of him that he was the very first of that long line of well-known authors who received their first literary criticism from Professor Edward Tyrrel Channing. Up to that time there had been no such thing as a professional author in America, except Brockden Brown, who died in 18 10. Channing was a clergyman ; Bryant was a law- yer ; Cooper was not yet known, his novel of " Precaution " having been published anony- mously ; Bancroft was still in Germany, and Irving in England. The "North American Review" had been six years established, but still reached only a small circle. Sydney Smith had lately written (in 1818) : "There does not seem to be in America, at this moment, one man of any considerable talents." Such was 6 CONTEMPORARIES the condition of affairs when Emerson took his diploma and went forth as Bachelor of Arts. For five years after leaving college he was an assistant teacher in a school for girls, taught by his elder brother, William. In 1823 he began to study for the ministry, the accumulated tra- ditions of his ancestry being quite too strong for him. He did not join the Harvard Divinity School, then newly established, but he was duly " appointed to preach " in 1 826. His health was delicate, and he took a trip southward for small parishes under temporary engagements. He evidently felt at this time a premonition of that longing for studious retirement to which he afterward yielded ; for the graceful verses, " Good-by, proud world, I 'm going home," belong to this period of his life and not to the later time. On March 11, 1829, he was or- dained as colleague to the Rev. Henry Ware, Jr., of the Second Unitarian Society in Boston. Here he remained for three years, faithfully discharging his professional duties, and indeed construing them with a liberality beyond most of his profession, inasmuch as he twice opened his pulpit for anti-slavery addresses. The Rev. Mr. Ware was absent in Europe during a large part of Mr. Emerson's term of service, and re- turned only to resign his post from ill-health, RALPH WALDO EMERSON 7 saying to the people in regard to his young colleague : " Providence presented to you at once a man on whom your hearts could rest." Emerson's preaching seems to have prefig- ured his later lecturing in earnestness and sin- cerity, and it had the same ideal aspect ; he spoke of himself once as "killing the utility swine" in a sermon on ethics. He had some duties outside his own pulpit, was Chaplain of the State Senate, and member of the City School Committee. He seems to have liked his work, but was compelled by his conscience to preach a sermon (September g, 1832) against the further observance of the so-called " Lord's Supper." This sermon was not printed at the time, but may be found in Frothingham's " His- tory of Transcendentalism." It does not seem very aggressive when tried beside the more trenchant heresies of to-day, but it sufficed to separate him from his parish. Yet it is evi- dent that the separation was without bitterness, inasmuch as he furnished for the ordination of his successor, the Rev. Chandler Robbins, dur- ing the next year, the fine hymn beginning — " We love the venerable house Our fathers built to God." During this pastorate he was married (in September, 1829) to Ellen Louise Tucker, to whom he addressed the lines entitled "To 8 CONTEMPORARIES Ellen at the South." She died of consumption in February, 1832, and at the end of that year he sailed for Europe, being gone nearly a year. It was during this visit that he made the ac- quaintance of Landor and Wordsworth, as de- scribed in " English Traits," and he also went to Craigenputtock to see Carlyle, who long afterward described his visit (in conversation with Longfellow), as being "like the visit of an angel." Then began that friendship which lasted for a lifetime, and which had such a hold upon the high-minded Carlyle, that he scarcely seemed a cynic when the name of Emerson was uttered. After his return to Boston Mr. Emerson preached a few times — once in his old pulpit — and declined a call from the large Unitarian Society in New Bedford. He gave public lec- tures on "Italy," on "Water," and on "The Relation of Man to the Globe." In 1834 he gave in Boston a series of biographical lectures on Michael Angelo, Milton, Luther, George Fox, and Edmund Burke, — a different pan- theon, it will be observed, from his later " Re- presentative Men." It is well remembered that there was even at that time a charm in his man- ner which arrested the attention of very young people ; and from that time forward, for haK a century, he was one of the leading lecturers of RALPH WALDO EMERSON 9 America. He lectured in forty successive sea- sons before a single " lyceum " — that of Salem, Mass. His fine delivery unquestionably did a great deal for the dissemination of his thought. After once hearing him, that sonorous oratory seemed to roll through every sentence that the student read ; and his very peculiarities, — the occasional pause accompanied with a deep gaze of the eyes, or the apparent hesitation in the selection of a word, always preparing the way, like Charles Lamb's stammer, for some stroke of mother - wit, — these identified themselves with his personality, and secured his hold. He always shrank from extemporaneous speech, though sometimes most effective in its use ; he wrote of himself once as " the worst known pub- lic speaker, and growing continually worse ; " but his most studied remarks had the effect of off-hand conviction from the weight and beauty of his elocution. From the time, however, when he retired to his father's birthplace. Concord (in 1834), and published his first thin volume, entitled " Na- ture," it became plain that it was through the press that his chief work was to be done. It is sometimes doubtful how far one who initiates a fresh impulse, whether in literature or life, does it with full and conscious purpose. There can be no such doubt in the case of Emerson. 10 CONTEMPORARIES From the beginning to the end of this first vol- ume, the fact is clear that it was consciously and deliberately a new departure. Those ninety brief pages were an undisguised challenge to the world. On the very first page the author complains that our age is retrospective, — that others have "beheld God and nature face to face ; we only through their eyes. Why should not we," he says, "also enjoy an original rela- tion to the universe ? Why should not we have a poetry and philosophy of insight and not of tradition ? " Thus the book begins, and on the very last page it ends, " Build, therefore, your own world ! " At any time, and under any conditions, the first reading of such words by any young per- son would be a great event in life, but in the comparative conventionalism of the literature of that period it had the effect of a revelation. It was soon followed by other similar appeals. On the very first page of the first number of the "Dial" (July, 1840) the editors speak of "the strong current of thought and feeling which for a few years past has led many sin- cere persons in New England to make new demands on literature, and to repudiate that rigor of our conventions of religion and educa- tion which is turning us to stone." Emerson's "Thoughts on Modern Litera- RALPH WALDO EMERSON ii ture," contained in the second number of the "Dial" (October, 1840), struck the keynote of a wholly new demand. In this he has a frank criticism of Goethe, whom he boldly arraigns for not rising above the sphere of the conven- tional, and for not giving us a new heaven and a new earth. Goethe, he says, tamely takes life as it is, " accepts the base doctrine of Fate, and gleans what straggling joys may yet re- main out of its ban." "He was content to fall into the track of vulgar poets, and spend on common aims his splendid endowments, and has declined the office proffered now and then to a man in many centuries, in the power of his genius — of a Redeemer of the human mind. . . . Let him pass. Humanity must wait for its physician still, at the side of the road, and confess as this man goes out that they have served it better who assured it out of the innocent hope in their hearts that a Physician will come, than this majestic Artist, with all the treasures of wit, of science, and of power at Jiis command." Again, Emerson says in the same paper : — " He who doubts whether this age or this country can yield any contribution to the litera- ture of the world only betrays his blindness tO: the necessities of the human soul. . . . What shall hinder the Genius of the Time 12 CONTEMPORARIES from speaking its thought ? It cannot be silent if it would. It will write in a higher spirit, and a wider knowledge, and with a grander practi- cal aim, than ever yet guided the pen of poet ; . . . and that which was ecstasy shall become daily bread." It was the direct result of words like these to arouse what is the first great need in a new literature — self-reliance. The impulse in this direction, given during the so-called Transcen- dental period was responsible for many of the excesses of that time, but it was the only way to make strong men and women. The " Dial " itself revealed liberally some of the follies of the movement it represented, but nothing can ever deprive it of its significance as offering the first distinctly American movement in litera- ture. And while it is difficult, in this period of perhaps temporary reaction against the ideal school of thought, to fix Emerson's permanent standing among thinkers, his influence as a stimulus was quite unequaled during the era when our original literature was taking form. In 1835 Mr. Emerson was married for the second time, his wife being Miss Lidian Jack- son, daughter of Charles Jackson, of Plymouth, and sister of Dr. Charles T. Jackson, well known in connection with the discovery of anaesthetics. He then went to reside in the RALPH WALDO EMERSON 13 house which was thenceforth his home, and was for many years, as Lord Clarendon said of the house of Lord Falkland, " a college situated in purer air" and "a university in less volume" to the many strangers who came thither. In this house his children were bom, and here his devoted mother resided with him until she died. From this time forth, too, he identified himself with all the local affairs of Concord, writing a hymn for the dedication of the Revolutionary Monument, giving an historical address, and recognized by all as the chief pride and orna- ment of that little town — as sturdy and cour- ageous in its individuality as any free city of the later Middle Ages. His books appeared in steady succession, the material having been often, though not always, used previously in lectures. The two volumes of "Essays" appeared in 1841 and 1844, the "Poems" in 1846, "Representative Men" in 1850, the "Life of Margaret Fuller Ossoli" (of which he was part editor) in 1852, "English Traits" in 1856, "The Conduct of Life" in i860, "May-Day and Other Poems," with "So- ciety and Solitude," in 1869. This list does not include the various addresses and ora- tions which were published in separate pam- phlets, and remained uncollected in America until 1849, though reprinted in a cheap form in 14 CONTEMPORARIES England in 1844. Some of these special ad- dresses attracted quite as much attention as any of his books — this being especially true of those entitled "The Method of Nature," " Man Thinking," " Literary Ethics," and above all, the "Address before the Senior Class at Divinity College, Cambridge," delivered July 15, 1838. It would be difficult to exaggerate the hold taken by these addresses upon the young people who read them, or the extent to which their pithy and heroic maxims became a part of the very fibre of manhood to the genera- tion then entering upon the stage of life. The perfect personal dignity of the leader, his ele- vation of thought, his freedom from all petty antagonisms, his courage in all practical tests enhanced this noble influence. Pure idealist as he was, he went through the difficult ordeal of the anti-slavery excitement without a stain, and more than once endured the novel experi- ence of hisses and interruptions with his philo- sophic bearmg undisturbed, and seeming, in- deed, to find only new material for thought in this unwonted aspect of life. He also identi- fied himself with certain other reforms : signed the call for the first National Woman's Suffrage Convention, in 1850, and was one of the speak- ers at the first meeting of the Free Religious Association, of which he was ever after a Vice- RALPH WALDO EMERSON 15 President. It is needless to say that he was in warm sympathy with the national cause during the war for the Union ; and he was a Republi- can in politics. Mr. Emerson's fame extended far beyond his native land ; and it is probable that no writer of the English tongue had more influence in England, thirty years ago, before the all- absorbing interest of the new theories of evo- lution threw all the so - called transcendental philosophy into temporary shade. When we consider, for instance, his marked influence on three men so utterly unlike one another as Carlyle, Tyndall, and Matthew Arnold, the truth of this remark can hardly be disputed. On the continent his most ardent admirers and commentators were Edgar Quinet in France, and Herman Grimm in Germany. It will be remembered by many that during Kossuth's very remarkable tour in this country — when he adapted himself to the local tradi- tions and records of every village as if he had just been editing for pubhcation its local annals — he had the tact to identify Emerson, in his fine way, with Concord, and said in his speech there, turning to him, " You, sir, are a philoso- pher. Lend me, I pray you, the aid of your philosophical analysis," etc., etc. He addressed him, in short, as if he had been Kant or Hegel. i6 CONTEMPORARIES But in reality nothing could be remoter from Emerson than such a philosophic type as this. He was only a philosopher in the vaguer ancient sense ; his mission was to sit, like Socrates, beneath the plane-trees, and offer profound and beautiful aphorisms, without even the vague thread of the Socratic method to tie them to- gether. Once, and once only, in his life, he seemed to be approaching the attitude of sys- tematic statement — this being in his course of lectures on "The Natural Method of Intellec- tual Philosophy," given in 1868 or thereabouts ; the fundamental proposition of these lectures being that "every law of nature is a law of mind," and all material laws are symbolical statements. These few lectures certainly in- spired his admirers with the belief that their great poetic seer might commend himself to the systematizers also. But for some reason, even these lectures were not published till after Emerson's death, and his latest books had the same detached and fragmentary character as his earliest. He remained still among the poets, not among the philosophic doctors, and must be permanently classified in that manner. Yet it may be fearlessly said that, within the limits of a single sentence, no man who ever wrote the English tongue has put more mean- ing into words than Emerson. In his hands, to RALPH WALDO EMERSON 1 7 adopt Ben Jonson's phrase, words " are rammed with thought." No one has reverenced the divine art of speech more than Emerson, or practiced it more nobly. "The Greeks," he once said in an unpubHshed lecture, " antici- pated by their very language what the best orator could say ; " and neither Greek precision nor Roman vigor could produce a phrase that Emerson could not match. Who stands in all literature as the master of condensation if not Tacitus ? Yet Emerson, in his speech at the anti-Kansas meeting in Cambridge, quoted that celebrated remark by Tacitus when mentioning that the effigies of Brutus and Cassius were not carried at a certain state funeral ; and in trans- lating it, bettered the original. The indignant phrase of Tacitus is, " Prasfulgebant . . . eo ipso quod . . . non visebantur," thus giving a grand moral lesson in six words ; but Emer- son gives it in five, and translates it, even more powerfully : " They glared through their absences." Look through all Emerson's writ- ings, and then consider whether in all literature you can find a man who has better fulfilled that aspiration stated in such condensed words by Joubert, " to put a whole book into a page, a whole page into a phrase, and that phrase into a word." After all, it is phrases and words won like this which give immortality. And if you i8 CONTEMPORARIES say that, nevertheless, this is nothing, so long as an author has not given us a system of the universe, it can only be said that Emerson never desired to do this, but left on record the opinion that " it is too young by some ages yet to form a creed." The system-makers have their place, no doubt; but when we consider how many of them have risen and fallen since Emerson began to write, — Coleridge, Schelling, Cousin, Comte, Mill, down to the Hegel of yesterday and the Spencer of to-day, — it is really evi- dent that the absence of a system cannot prove much more short-lived than the possession of that commodity. It must be left for future generations to de- termine Emerson's precise position even as a poet. There is seen in him the tantalizing com- bination of the profoundest thoughts with the greatest possible variation in artistic work, — sometimes mere boldness and almost wayward- ness, while at other times he achieves the most exquisite melody touched with a certain wild grace. He has been likened to an seolian harp, which now gives and then perversely withholds its music. Nothing can exceed the perfection of the lines — " Thou canst not wave thy staff in air, Nor dip thy paddle in the lake, But it carves the bow of beauty there, And the ripples in rhyme the oar forsake." RALPH WALDO EMERSON 19 Yet within the compass of this same fine poem (" Wood - Notes ") there are passages which elicited from Theodore Parker, one of the poet's most ardent admirers, the opinion that a pine- tree which should talk as Mr. Emerson's tree talks would deserve to be plucked up and cast into the sea. His poetic reputation was dis- tinctly later in time than his fame as an essayist and lecturer ; and Horace Greeley was one of the first, if not the first, to claim for him a rank at the very head of our American bards. Like Wordsworth and Tennyson, he educated the public mind to himself. The same verses which were received with shouts of laughter when they first appeared in the " Dial " were treated with re- spectful attention when collected into a volume, and it was ultimately discovered that they were among the classic poems of aU literature. In part this was due to the fact that Emerson actu- ally did what Margaret Fuller had reproached Longfellow for not doing, — he took his allusions and his poetic material from the woods and waters around him, and wrote fearlessly even of the humble-bee. This was called by some critics "a foolish affectation of the familiar," but it was recognized by degrees as true art. There was thus a gradual change in the public mind, and it turned out that in the poems of Emerson, not less than in his prose, the birth of a litera- 20 CONTEMPORARIES It must, on the other hand, be remembered, in justice to the public mind, that Emerson dis- armed his critics by some revision of his poems, so that they appeared, and actually were, less crude and whimsical when transplanted into the volume. In the very case just mentioned, the original opening, " Fine humble-bee I fine humble-bee I " had a flavor of affectation, whereas the substi- tuted line, " Burly, dozing humble-bee," added two very effective adjectives to the origi- nal description. Again, in the pretty verses about the maiden and the acorn, the lines as originally published stood thus : — " Pluck it now I In vain — thou canst not I It has shot its rootlets down'rd. Toy no longer, it has duties ; It is anchored in the ground." There probably is not a rougher rhyme in Eng- lish verse than that between "down'rd" and " ground ; " but, after revision, this softer line was substituted, " Its roots have pierced yon shady mound," which, if less vigorous, at least propitiates the ear. It is evident from Emerson's criticisms in the " Dial " — as that on Ellery Channing's poems — that he had a horror of what he calls RALPH WALDO EMERSON 21 " French correctness," and could more easily pardon what was rough than what was tame. When it came to passing judgment on the de- tails of poetry, he was sometimes a whimsical critic; his personal favorites were apt to be swans. He undoubtedly felt some recoil from his first ardent praise of Whitman, for instance, and at any rate was wont to protest against his " priapism," as he tersely called it. On the other hand, there were whole classes of writers whom he scarcely recognized at all. This was true of Shelley, for example, about whom he wrote: " Though uniformly a poetic mind, he is never a poet." His estimate of prose authors seemed more definite and trustworthy than in the case of verse, yet he probably never quite appreciated Hawthorne, and certainly discouraged young people from reading his books. " Of all writers," says Sir Philip Sidney, " the poet is the least liar;" and we might almost say that of all poets Emerson is the most direct and unfaltering in his search for truth. To this must be added, as his highest gift, a nature so noble and so calm that he was never misled for one instant by temper, by antagonism, by con- troversy. The spirit in which he received and disarmed the criticisms of his colleague, Henry Ware, on the publication of his Divinity Hall address, was the spirit of his whole life ; it was 22 CONTEMPORARIES "first pure, then peaceable." The final verdict of posterity upon him must be essentially that epitaph which he himself placed upon the grave of the friend and brother-poet who but just pre- ceded him. On his return from Mr. Longfel- low's funeral he said to a friend, — with that vague oblivion of names which alone beclouded his closing years, — " That gentleman whose funeral we have been attending was a sweet and beautiful soul, but I forget his name." These high words of praise might fitly be applied to the speaker himself ; but his name shows no signs of being forgotten. He died at Concord, Mass., April 27, 1882. AMOS BRONSON ALCOTT Amos Bronson Alcott was born at Wol- cott, Conn., November 29, 1799, and died at Boston, Mass., March 4, 1888. It is often noticed, when the tie between two lifelong associates is broken by the death of one of them, that the other shows the effect of the shock from that moment, as if left only half alive — nee superstes integer. So close was the intercourse, for many years, between Mr. Alcott and Mr. Emerson — so perfect their mutual love and reverence — so constant their cooperation in the kind of work they did and the influence they exerted — that it was diffi- cult to conceive of Mr. Alcott as living long alone; and it seemed eminently appropriate that part of the remaining interval of his life should be employed in delineating his friend's traits. They were singularly different in tem- perament, and yet singularly united. They were alike in simplicity and integrity of nature, as well as in their chosen place of residence and in the elevated influence they exercised. In all other respects they were unlike. Mr. 24 CONTEMPORARIES Alcott was conspicuously an instance of what may be called the self - made man in litera- ture. Without early advantages, and with no family traditions of culture, he took his place among the most refined though not among the most powerful exponents of the ideal atti- tude ; whereas Mr. Emerson came of what Dr. Holmes called Brahmin blood, had behind him a line of educated clergymen, and had received the best that could be given in the way of training by the New England of his youth. Their temperaments were in many ways differ- ent : Emerson was shy and reserved, Alcott was effusive and cordial ; Emerson repressed personal adulation, Alcott expanded under it ; Emerson found in literature his natural func- tion, Alcott came to it with such difficulty that Lowell wrote of him, " In this, as in all things, a lamb among men. He goes to sure death when he goes to his pen." Emerson's style was enriched by varied know- ledge, his use of which made one always wish for more. Alcott's reading lay only in one or two directions, and his use of it was sometimes fatiguing. Emerson's most serious poems were prolonged lyrics ; Alcott could put no lyric line into his grave and sometimes weighty sonnets. Emerson was thrifty, and a good steward of his own affairs ; Alcott always seemed in a AMOS BRONSON ALCOTT 25 stately way penniless, until the successful career of his daughter gave him ampler means. Emer- son gave lectures with an air of such gracious humility that every hearer seemed to do part of the thinking ; Alcott called his lectures " conversations," and then was made obviously unhappy if his monologue was seriously dis- turbed by any one else. Emerson's most star- tling early paradoxes were given with such dig- nity that those hearers most hilariously dis- posed were subdued to gravity ; Alcott' s most thoughtful sentences, at the same period, some- times came with such a flavor of needless whim- sicality as to make even the faithful smile. Yet there was between them a tie as incapa- ble of severance as that which united the Siam- ese twins. Mr. Emerson found in the once famous Chardon-Street and Bible Conventions no result so interesting as the "gradual but sure ascendency " of Mr. Alcott's spirit — "in spite," wrote this plain-spoken friend, " of the incredulity and derision with which he is at first received, and in spite, we might add, of his own failures." Mr. Alcott, as has been said, devoted his last years to the delineation of Emerson as the greatest of men. Yet so sin- cere was this mutual admiration, so noble this love, that it is impossible to speak of it with anvtbintr but reverence : and the far wider 26 CONTEMPORARIES fame and influence of Emerson made it for Alcott, during his whole life, an immense advan- tage to have the unfailing support of a friend so eminent. For it must be remembered that during many years the public was scarcely in the habit of taking Mr. Alcott seriously. It received him, as Emerson said, "with incredulity and deri- sion." His antecedents seemed a little ques- tionable, to begin with. Born in a country vil- lage in Connecticut, and occupied for many years in the humble vocation of a traveling salesman in Virginia, — not to say peddler, — he came, in 1828, before the somewhat narrow intellectual circles of Boston in a wholly differ- ent light from Emerson, who had every advan- tage of local prestige. Alcott's school, which became celebrated through the " Record of a School," by his friend and assistant. Miss Eliz- abeth P. Peabody (Boston, 1835 > 2d ed., 1836), was generally regarded as coming near the edge of absurdity, because of the rather obtru- sive reverence paid in it to the offhand re- marks of children six years old, and because of the singular theory of vicarious punishment which sometimes led to the giving of physical pain to teacher instead of pupil. Yet this school undoubtedly anticipated in some respects the views of teaching now recognized ; it won AMOS BRONSON ALCOTT 27 the warm approval of James Pierrepont Greaves, the pupil and English interpreter of Pestalozzi ; and it led to the establishment of an " Alcott House School " at Ham (Surrey), in England, by Henry G. Wright, afterward Mr. Alcott's colaborer in another direction. Mr. Alcott him- self visited this school in 1842, and was lionized to his heart's content — which is saying a good deal — among English reformers. Some ac- count of this visit and of the English enter- prise will be found in a paper by Mr. Emerson in the " Dial " for October, 1842. Mr. Alcott's first conspicuous social movement was in the very vague direction of the Fruitlands Com- munity, at Harvard, Mass., a scheme which was as much wilder than Brook Farm as Brook Farm was than Stewart's dry-goods shop, and which was amusingly delineated by Miss Louisa Alcott in one of her minor sketches. His first intellectual demonstrations were in the " Orphic Sayings" of the "Dial," which were regarded at the time as the reductio ad absurdum of those daring pages. How were people to take a man seriously who wrote, " The popular gene- sis is historical," and "Love globes, wisdom orbs everything " .? These sentences now seem quite harmless, though perhaps a little enig- matical; but they were then held to be the ■arnrai- eViiVi Villi f>f1i nf tTnnt nPTV lniincr tn hp rallpH n mov sf>nr(» pa r>np nf the. mnst strikine' 44 CONTEMPORARIES It happened to me, many years since, in the course of some historical inquiries, to wish for fuller information in regard to the barbarous feudal codes of the Middle Ages, — as the Salic, Burgundian, and Ripuarian, — before the time of Charlemagne. The common historians, even Hallam, gave no very satisfactory information and referred to no very available books ; and supposing it to be a matter of which every well- read lawyer would at least know something, I asked help of the most scholarly member of that profession within my reach — a man who is now, by the way, a leader in the United States Senate. He regretted his inability to give me any aid, but referred me to a friend of his, who was soon to visit him, a young man who was already eminent for legal learning. The friend soon arrived, but owned, with some regret, that he had paid no attention to that particular subject, and did not even know what books to refer to ; but he would at least ascer- tain what they were, and let me know. [I may add that although he is now a Justice of the Supreme Court of the United States, I have never heard from him again.] Stimulated by ill-success, I aimed higher, and struck at the Supreme Bench of Massachusetts, breaking in on the mighty repose of his Honor with the name of Charlemagne. " Charlemagne .' " re- THEODORE PARKER 45 sponded my lord judge, rubbing his burly brow, — " Charlemagne lived, I think, in the sixth century ? " Dismayed, I retreated, with little further inquiry ; and sure of one man, at least, to whom law meant also history and literature, I took refuge with Charles Sumner. That accomplished scholar, himself for once at fault, could only frankly advise me to do at last what I ought to have done at first, — to apply to Theodore Parker. I did so. " Go," he replied instantly, "to alcove twenty -four, shelf one hundred and thirteen, of the College Library at Cambridge, and you will find the information you need in a thick quarto, bound in vellum, and lettered 'Potgiesser de Statu Servorum.' " I straightway sent for Potgiesser, and found my fortune made. It was one of those patient old German treatises which cost the labor of one man's life to compile and another's to exhaust, and I had no reason to suppose that any reader had disturbed its repose until that unwearied industry had explored the library. Amid such multiplicity of details he must sometimes have made mistakes, and with his great quickness of apprehension he sometimes formed hasty conclusions. But no one has a right to say that his great acquirements were bought by any habitual sacrifice of thorough- ness. To sav that they sometimes impaired 46 CONTEMPORARIES the quality of his thought would undoubtedly be more just ; and this is a serious charge to bring. Learning is not accumulation, but as- similation ; every man's real acquirements must pass into his own organization, and undue or hasty nutrition does no good. The most price- less knowledge is not worth the smallest im- pairing of the quality of the thinking. The scholar cannot afford, any more than the farmer, to lavish his strength in clearing more land than he can cultivate; and Theodore Parker was compelled by the natural limits of time and strength to let vast tracts lie fallow, and to miss something of the natural resources of the soil. One sometimes wished that he had stud- ied less and dreamed more. But it was in popularizing thought and know- ledge that his great and wonderful power lay. Not an original thinker, in the same sense with Emerson, he yet translated for tens of thou- sands that which Emerson spoke to hundreds only. No matter who had been heard on any subject, the great mass of intelligent, "pro- gressive " New England thinkers waited to hear the thing summed up by Theodore Parker. This popular interest went far beyond the cir- cle of his avowed sympathizers ; he might be a heretic, but nobody could deny that he was a marksman. No matter how well others seemed THEODORE PARKER 47 to have hit the target, his shot was the tri- umphant one, at last. Thinkers might find no new thought in the new discourse, leaders of action no new plan, yet, after all that had been said and done, his was the statement that told upon the community. He knew this power of his, and had analyzed some of the methods by which he had attained it, though, after all, the best part was an unconscious and magnetic faculty. But he early learned, so he once told me, that the New England people dearly love two things, — a philosophical arrangement and a plenty of statistics. To these, therefore, he treated them thoroughly ; in some of his " Ten Sermons " the demand made upon the syste- matizing power of his audience was really for- midable ; and I have always remembered a certain lecture of his on the Anglo-Saxons as the most wonderful instance that ever came within my knowledge of the adaptation of solid learning to the popular intellect. Nearly two hours of almost unadorned fact, — for there was far less than usual of relief and illustra- tion, — and yet the lyceum audience listened to it as if an angel sang to them. So perfect was his sense of purpose and of power, so clear and lucid was his delivery, with such won- derful composure did he lay out, section by section, his historical chart, that he grasped his 48 CONTEMPORARIES hearers as absolutely as he grasped his sub- ject, — one was compelled to believe that he might read the people the Sanskrit Lexicon, and they would listen with ever fresh delight. Without actual grace or beauty or melody, his mere elocution was sufificient to produce effects for which melody and grace and beauty might have sighed in vain. I always felt that he well described his own eloquence while describing Luther's, in one of the most admirably moulded sentences he ever achieved, — " The homely force of Luther, who, in the language of the farm, the shop, the boat, the street, or the nursery, told the high truths that reason or religion taught, and took possession of his audi- ence by a storm of speech, then poured upon them all the riches of his brave plebeian soul, baptizing every head anew, — a man who with the people seemed more mob than they, and with kings the most imperial man." Another key to his strong hold upon the popular mind was to be found in his thorough Americanism of training and sympathy. Sur- charged with European learning, he yet re- mained at heart the Lexington farmer's boy, and his whole harvest was indigenous, not ex- otic. Not haunted by any of the distrust and over-criticism which are apt to effeminate the American scholar, he plunged deep into the THEODORE PARKER 49 current of hearty national life around him, loved it, trusted it, believed in it ; and the combina- tion of this vital faith with such tremendous criticism of public and private sins formed an irresistible power. He could condemn with- out crushing, — denounce mankind, yet save it from despair. Thus his pulpit became one of the great forces of the nation, like the New York "Tribune." His printed volumes had but a limited circulation, owing to a defective system of publication, which his friends tried in vain to correct; but the circulation of his pamphlet discourses was very great ; he issued them faster and faster, latterly often in pairs, and they instantly spread far and wide. Ac- cordingly he found his listeners everywhere ; he could not go so far West but his abundant fame had preceded him; his lecture room in the remotest places was crowded, and his hotel chamber also, until late at night. Probably there was no private man in the nation, un- less it were Beecher or Greeley, whom personal strangers were so eager to see ; while from a transatlantic direction he was sought by vis- itors to whom the two other names were utterly unknown. Learned men from the continent of Europe always found their way, first or last, to Exeter Place ; and it is said that Thackeray, on his voyage to this country, declared that the so CONTEMPORARIES thing in America which he most desired was to hear Theodore Parker talk. Indeed, his conversational power was so won- derful that no one could go away from a first interview without astonishment and delight. There are those among us, it may be, more brilliant in anecdote or repartee, more eloquent, more profoundly suggestive ; but for the out- pouring of vast floods of various and delightful information, I believe that he could have had no Anglo-Saxon rival, except Macaulay. In Parker's case, moreover, there was no alloy of conversational arrogance or impatience of opposition. He monopolized not because he was ever unwilling to hear others, but because they did not care to hear themselves when he was by. The subject made no difference ; he could talk on anything. I was once with him in the society of an intelligent Quaker farmer, when the conversation fell on agriculture : the farmer held his own ably for a time ; but long after he was drained dry, our wonderful com- panion still flowed on exhaustless, with ac- counts of Nova Scotia ploughing and Tennes- see hoeing, and all things rural, ancient and modern, good and bad, till it seemed as if the one amusing and interesting theme in the uni- verse were the farm. But it soon proved that this was only one among his thousand depart- THEODORE PARKER 51 ments, and his hearers felt, as was said of old Fuller, as if he had served his time at every trade in town. But it must now be owned that these aston- ishing results were bought by some intellectual sacrifices which his nearer friends do not all re- cognize, but which posterity will mourn. Such a rate of speed is incompatible with the finest literary execution. A delicate literary ear he might have had, perhaps, but he very seldom stopped to cultivate or even indulge it. This neglect was not produced by his frequent habit of extemporaneous speech alone ; for it is a singular fact that Wendell Phillips, who rarely wrote a line, yet contrived to give to his has- tiest efforts the air of elaborate preparation, while Theodore Parker's most scholarly per- formances were still stump speeches. Vigor- ous, rich, brilliant, copious, they yet seldom afford a sentence which falls in perfect cadence upon the ear ; under a show of regular method, they are loose and diffuse, and often have the qualities which he himself attributed to the style of John Quincy Adams, — " disorderly, ill- compacted, and homely to a fault." He said of Dr. Channing, — " Diffuseness is the old Adam of the pulpit. There are always two ways of hitting the mark, — one with a single bullet, the other with a shower of small shot : 52 CONTEMPORARIES Dr. Channing chose the latter, as most of our pulpit orators have done." Theodore Parker chose it also. Perhaps nature and necessity chose it for him. If not his temperament, at least the cir- cumstances of his position cut him off from all high literary finish. He created the congrega- tion at the Music Hall, and that congregation, in turn, moulded his whole life. For that great stage his eloquence became inevitably a kind of brilliant scene painting, — large, fresh, profuse, rapid, showy ; masses of light and shade, won- derful effects, but farewell forever to all finer touches and delicate gradations ! No man can write for posterity while hastily snatching a half day from a week's lecturing, during which to prepare a telling Sunday harangue for three thousand people. In the perpetual rush and hurry of his life, he had no time to select, to discriminate, to omit anything, or to mature anything. He had the opportunities, the provocatives, and the drawbacks which make the work and mar the fame of the pro- fessional journalist. His intellectual existence, after he left the quiet of West Roxbury, was from hand to mouth. Needing above all men to concentrate himself, he was compelled by his whole position to lead a profuse and mis- cellaneous life. THEODORE PARKER 53 All popular orators must necessarily repeat themselves, — preachers chiefly among orators, and Theodore Parker chiefly among preachers. The mere frequency of production makes this inevitable, — a fact which always makes every finely organized intellect, first or last, grow weary of the pulpit. But in his case there were other compulsions. Every Sunday a quarter part of his vast congregation consisted of persons who had never, or scarcely ever, heard him before, and who might never hear him again. Not one of those visitors must go away, therefore, without hearing the great preacher define his position on every point, — not theology alone, but all current events and permanent principles, the presidential nomina- tion or message, the laws of trade, the laws of Congress, woman's rights, woman's costume, Boston slave-kidnappers, and Dr. Banbaby, — he must put it all in. His ample discourse must be like an Oriental poem, which begins with the creation of the universe, and includes all subsequent facts incidentally. It is astonish- ing to look over his published sermons and addresses, and see under how many different names the same stirring speech has been re- printed : new illustrations, new statistics, and all remoulded with such freshness that the hearer 54 CONTEMPORARIES and yet the same essential thing. Simday dis- course, lyceum lecture, convention speech, it made no difference, he must cover all the points every time. No matter what theme might be announced, the people got the whole latitude and longitude of Theodore Parker, and that was precisely what they wanted. He, more than any other man among us, broke down the traditional non-committalism of the lecture room, and oxygenated all the lyceums of the land. He thus multiplied his audience very greatly, while doubtless losing to some degree the power of close logic and of addressing a specific statement to a special point. Yet it seemed as if he could easily leave the lancet to others, grant him only the hammer and the forge. Ah, but the long centuries, where the read- ing of books is concerned, set aside all con- siderations of quantity, of popularity, of im- mediate influence, and sternly test by quality alone, — judge each author by his most golden sentence, and let all else go. The deeds make the man, but it is the style which makes or dooms the writer. History, which always sends great men in groups, gave us Emerson by whom to test the intellectual qualities of Parker. They cooperated in their work from the beginning, but not in the same mutual re- THEODORE PARKER 55 lation as now ; in looking back over the rich volumes of the " Dial," the reader now passes by the contributions of Parker to glean every sentence of Emerson's, but we have the latter's authority for the fact that it was the former's articles which originally sold the numbers. In- tellectually, the two men formed the comple- ment to each other ; it was Parker who reached the mass of the people, but it is probable that all his writings put together have not had so pro- found an influence on the intellectual leaders of the nation as the single address of Emerson at Divinity Hall. And it is difficult not to notice, in that essay in which Theodore Parker ventured on higher intellectual ground, perhaps, than anywhere else in his writings, — his critique on Emerson in the "Massachusetts Quarterly," — the indica- tions of this mental disparity. It is in many respects a noble essay, full of fine moral appre- ciations, bravely generous, admirable in the loy- alty of spirit shown towards a superior mind, and all warm with a personal friendship which could find no superior. But so far as literary execu- tion is concerned, the beautiful sentences of Emerson stand out like fragments of carved marble from the rough plaster in which they are imbedded. Nor this alone ; but on draw- inrr npar i-hp vpotiVmlp nf thp nntVinr'a finpst: 56 CONTEMPORARIES thoughts, the critic almost always stops, unable quite to enter their sphere. Subtile beauties puzzle him ; the titles of the poems, for in- stance, giving by delicate allusion the keynote of each, — as "Astraea," " Mithridates," "Ha- matreya," and " Etienne de la Bo6ce," — seem to him the work of "mere caprice;" he pro- nounces the poem of "Monadnoc" "poor and weak," and condemns and satirizes the " Wood- Notes." The same want of fine discrimination was usually visible in his delineations of great men in public life. Immense in accumulation of details, terrible in the justice which held the balance, they yet left one with the feeling, that, after all, the delicate mainsprings of char- acter had been missed. Broad contrasts, heaps of good and evil, almost exaggerated praises, pungent satire, catalogues of sins that seemed pages from some recording angel's book, — these were his mighty methods ; but for the subtilest analysis, the deepest insight into the mysteries of character, one must look else- where. It was still scene painting, not portrait- ure ; and the same thing which overwhelmed with wonder when heard in the Music Hall, produced a slight sense of insufficiency when read in print. It was certainly very great in its way, but not quite in the highest way ; it was THEODORE PARKER 57 preliminary work, not final; it was Parker's Webster, not Emerson's Swedenborg or Na- poleon. The same thing was often manifested in his criticisms on current events. The broad truths were stated without fear or favor, the finer aspects were sometimes passed over, and the special opportunity was thus sometimes missed. His sermons on current revivals, for instance, had an enormous circulation, and told with great force upon those who had not been swept into the movement, and even upon some who had been. The difficulty was that they were just such discourses as he would have preached in the time of Edwards and the " Great Awakening ; " and the point which many thought the one astonishing feature of the new excitement, its almost entire omission of the "terrors of the Lord, " — the far gentler and more winning type of religion which it displayed, and from which it confessedly drew much of its power, — this was entirely ignored in Mr. Parker's sermons. He was too hard at work in combating the evangelical theology to recognize its altered phases. Forging light- ning-rods against the tempest, he did not see that the height of the storm had passed by. These are legitimate criticisms to make on Theodore Parker, for he was laree enouerh to S8 CONTEMPORARIES merit them. It is only the loftiest trees of which it occurs to us to remark that they do not touch the sky, and a man must comprise a great deal before we complain of him for not comprising everything. But though the closest scrutiny may sometimes find cases where he failed to see the most subtile and precious truth, it will never discover an instance where, seeing, he failed to proclaim it, or, proclaiming, failed to give it force and power. He lived his life much as he walked the streets of Boston, — not quite gracefully, nor yet statelily, but with quick, strong, solid step, with sagacious eyes wide open, and thrusting his broad shoulders a little forward, as if butting away the throng of evil deeds around him and scattering whole at- mospheres of unwholesome cloud. Wherever he went, there went a glance of sleepless vigilance, an unforgetting memory, a tongue that never faltered, and an arm that never quailed. Not primarily an administrative nor yet a military mind, he yet exerted a positive control over the whole community around him, by sheer mental and moral strength. He mowed down harvests of evil as in his youth he had mowed the grass, and all his hours of study were but whetting the scythe. And for this great work it was not essential that the blade should have a razor's edge. THEODORE PARKER 59 Grant that Parker was not also Emerson ; no matter, he was Parker. If ever a man seemed sent into the world to find a certain position, and found it, he was that man. He made his great qualities seem so natural and inev- itable, we forgot that all did not share them. We forgot the scholar's proverbial reproach of timidity and selfishness, in watching him. While he lived, it seemed a matter of course that the greatest acquirements and the heartiest self-devotion should go together. Can we keep our strength, without the tonic of his example ? How petty it now seems to ask for any fine- drawn subtilties of poet or seer in him who gave his life to the cause of the humblest ! Life speaks the loudest. We do not ask what Luther said or wrote, but only what he did ; and the name of Theodore Parker will not only long outlive his books, but will last far beyond the special occasions out of which he moulded his grand career. JOHN GREENLEAF WHITTIER The popular poet laureate of this country passed away in peace on September 7, 1892, in the eighty-fifth year of his age, having been born at Haverhill, Mass., December 17, 1807. This longevity, aided by numerous biographies, has made the principal facts of his uneventful life well known to the public. Neither of the careers which he would fain have determined for himself was destined to be his. From jour- nalism as from politics the farmer's son was turned back to that simple inspiration of poet which was first recognized in him by his neigh- bor, the editor of the Newburyport "Free Press," afterwards the editor of the Boston " Liberator," William Lloyd Garrison. The friendship of these two men might well have led the younger, as disciple, to become entirely ab- sorbed in the agitation against slavery, in which he did, in fact, for a time do editorial service. Yet partly his political and partly his religious bias drew him away from Garrison at the time of the schism in the abolition ranks growing out of the political and sectarian differences, JOHN GREENLEAF WHITTIER 6i though in after years they came together with- out bitterness and with their old affection. Moreover, the poet was physically unfitted " to ride The winged Hippogriff Refonn." He was all his life a victim of ill-health, having brought on neuralgia and headache by over- work in the early days of his journalism. For many years he could not write fifteen minutes at a time without a headache, and it is certain that his delicate health was for almost all his life a drawback to continuous mental exertion, although care and watchfulness greatly bene- fited his general condition during his later years. This improved health, together with other causes, produced in him an increase, not a diminution, as years went on, of sociability and freedom of intercourse. He became more frequently a guest at private houses, where nothing but a growing deafness prevented him from being a most delightful companion. His shyness visibly diminished — a quality so marked in early life that it sometimes seemed a posi- tive distress to him to be face to face with half a dozen people in a room. This habit showed itself chiefly in what is called society ; with men met for political or even business purposes he was more at home. -»/\li^i/- 62 CONTEMPORARIES 183 s and 1836 he was a member of the Mas- sachusetts legislature), and was esteemed — though a poet — a man of excellent judgment in all public matters. He was a keen judge of character, was perfectly unselfish, and always appeared to look at affairs more with the eyes of a man of the people than with those of a student. Without making any words about it, he seemed held by early associations as well as principle to the point of view of the labor- ing class. His whole position in this respect was very characteristic of American life; had he lived in England' and among the social re- strictions of that more stereotyped society, he would, perhaps, have been simply some Corn- Law Rhymer, some Poet of the People. As it was, there was nothing to keep him from full identification with the most cultivated class, and yet he was always able to remain in full sympathy with the least cultivated. In this respect he was more typically national than most of our bards. His liberal attitude was aided also by his training in the Society of Friends. Of this body Mr. Whittier was always a faithful member, though never narrow or technical in his spirit. In his youth his anti-slavery associ- ations sometimes brought him into danger of discipline ; and he used to say jokingly in his later years that the Society would gladly have JOHN GREENLEAF WHITTIER 63 then put upon him, would he but consent, all the committee work and the little dignities from which his position as a reformer had excluded him in his youth. He always held to the pre- scribed garb so far as the cut of his coat was concerned, but conformed to the ways of the world in his other attire. He did not use the " thee " to members of his own society alone, as is the case with some, but presented it in his intercourse with the world at large. It is difEciilt to say whether in his life, as in Irving's, an early romance led the way to a career of celibacy. A few^passages in his writ- ings, but only a few, might bear this interpre- tation, while the view was discouraged by his nearest kindred. It is certain that in later life he sometimes permitted himself to express re- gret that he had never married, since all his tastes and habits were eminently domestic. He always appeared to advantage in the society of women. His manners had all the essentials of courtliness in their dignity and consideration for others, and while he had little small-talk, he had plenty to say about men and affairs ; this being always said with sympathy and with quaint humor. Utterly free from self-esteem, he was always glad to keep the current of con- versation away from himself, and might indeed be said to rejoice in any evidences of obsciuity. 64 CONTEMPORARIES He was a wide reader and had a tenacious memory, but he spoke no language except his own, nor did he — although he translated one or two simple French poems — read much in any foreign tongue. He never visited Europe. He used to say that in early life he had a great yearning for travel, but that after reading a book about any foreign place, he retained in his mind a picture so vivid that his longing for that particular place was satisfied. Yet, as Thoreau said that he had traveled a great deal, — in Concord, — so Whittier was familiar with New England and Pennsylvania, and has done far more than any poet — perhaps as much as all other poets together — to preserve the legends and immortalize the localities of these portions of our country. It is only necessary to look through the New England volumes of Longfellow's " Poems of Places " to be satisfied of this. In his treatment of legends, Whittier's Quaker truthfulness comes in, and he generally produces his poetic effects while keeping close to history. But his great skill lay in discovery : everything he found was turned to account, and he preceded even Hawthorne in demon- strating that the early New England life was as rich in poetic material as the Scotch. Of his poetry it may thus safely be said that it has two permanent grounds of fame : he was JOHN GREENLEAF WHITTIER 65 the Tyrtseus of the greatest moral agitation of the age, and he was the creator of the New England legend. He was also the exponent of a pure and comprehensive religious feeling ; but this he shared with others, while the first two branches of laurel were unmistakably his own. His drawbacks were almost as plain and unequivocal as his merits. Brought up at a period when Friends disapproved of music, he had no early training in this direction and per- haps no natural endowment. He wrote in a letter of 1882, — "I don't know anything of music, not one tune from another." This at once defined the limits of his verse and re- stricted him to the very simplest strains. He wrote mostly in the four-line ballad metre, which he often made not only effective, but actually melodious. That he had a certain amount of natural ear is shown by his use of proper names, in which, after his early period of Indian experiments had passed, he rarely erred. In one of his very best poems, " My Playmate," a large part of the effectiveness comes from the name of the locality : — " The dark pines sing on Ramoth hill The slow song of the sea." In "Amy Wentworth," another of his best, he gives to one of his verses the unconscious flavor of an old ballad by using, as simply as a 66 CONTEMPORARIES nameless Scottish minstrel would have used, the names at his own door : — " The sweetbriar blooms on Kittery-side And green are Elliot's bowers." These are the very names of the villages where the scene was laid, and even the K.ittery-stde is vernacular. Whittier sometimes prolonged his narrative too much, and often obtruded his moral a little, but, so far as flavor of the soil went, he was far beyond Longfellow or Holmes or Lowell. If he lost by want of ear for music, the result was chiefly injurious in that it im- paired his self-confidence; and where he had trusted his ear to admit a bolder strain, he was easily overawed by some prosaic friend with a foot-rule, who convinced him that he was tak- ing a dangerous liberty. Thus, in "The New Wife and the Old," in describing the night sounds, he finally closed with — " And the great sea waves below, Pulse o' the midnight, beating slow." This "Pulse o' the midnight" was an unusual rhythmic felicity for him, but, on somebody's counting the syllables, he tamely submitted, substituting " Like the night's pulse, beating slow," which is spondaic and heavy ; but he after- wards restored the better line. In the same JOHN GREENLEAF WHITTIER 67 way, when he sang of the shoemakers in the best of his " Songs of Labor," he originally wrote : — " Thy songs, Hans Sachs, are living yet In strong and hearty German, And Canning's craft and Gifford's wit, And the rare good sense of Sherman." Under similar pressure of criticism he was in- duced to substitute " And patriot fame of Sherman." and this time he did not repent. It is painful to think what would have become of the liquid measure of Coleridge's " Christabel " had some tiresome acquaintance, possibly "a person on business from Porlock," insisted on thus putting that poem in the stocks. Whittier's muse probably gained in all ways from the strong toiiic of the anti-slavery agita- tion. That gave a training in directness, sim- plicity, genuineness ; it taught him to shorten his sword and to produce strong effects by com- mon means. It made him permanently high- minded also, and placed him, as he himself always said, above the perils and temptations of a merely literary career. Though always care- ful in his work, and a good critic of the work of others, he usually talked by preference upon subjects not literary — politics, social science, the riffhts of labor. He would speak at times, 68 CONTEMPORARIES if skillfully led up to it, about his poems, and was sometimes, though rarely, known to repeat them aloud ; but his own personality was never a favorite theme with him, and one could easily fancy him as going to sleep, like La Fontaine, at the performance of his own opera. Few men of limited early training have brought from that experience so few literary defects as Whittier. He soon outgrew all flavor of pro- vincialism, and entered into the world-wide atmosphere of literature. The result is that when he uses a mispronunciation or makes a slip in grammar, it has the effect of an over- sight or a whim, not of ignorance. Thus he always accents the word " romance " on the first syllable, as in " Young Romance raised his dreamy eyes ; '' and in the poem "The Knight of St. John" he has this bit of hopelessly bad grammar : — " For since the day when Warkworth wood Closed o'er my steed and I." Yet these things suggest no flavor of illiteracy. A worse fault is that of occasional dilution and the reiteration of some very simple moral. D'Alembert said of Richardson's novels, once so famous, " Nature is a good thing, but do not bore us with her {non fas jusqu'd V ennui)." Whittier never reaches the point of ennui, but JOHN GREENLEAF WHITTIER 69 he sometimes makes us fear that another verse will bring us to it ; and yet, when he will, he can be thoroughly terse and vigorous. He is always simple — always free from that turgid- ness and mixture of metaphors which often mar the verse of LowelL On the other hand, he does not so often as Lowell broaden into the strong assertion of great general maxims. Lowell's "Verses Suggested by the Present Crisis " followed not long after Whittier's "Massachusetts to Virginia," and, being printed anonjmiously, were at first attributed to the same author. Whittier's poem had even more lyric fire and produced an immediate impres- sion even greater, but it touched universal prin- ciples less broadly, and is therefore now rarely quoted, while Lowell's "Truth forever on the scaffold, wrong forever on the throne " is immortal on the lips of successive orators. But while this is true, it is also certain that there is room, even in the United States, for such a function as that of poet of the people ; and here Whittier filled a mission apart from that of the other members of his particular group of New England bards. The difference was indeed ante-natal, and affords a most inter- esting study. Emerson, Longfellow, Holmes, and Lowell belonged more or less completely 70 CONTEMPORARIES to what one of them described well enough as " Brahmin blood," representing traditions of hereditary cultivation, if not always of station or wealth. Their ancestors were to a great ex- tent clergymen or lawyers, gens de robe. With the questionable exception of Father Bachiler, Whittier had a widely different ancestry. But here came in a new element of interest : since he stood for a race which had a culture of its own, namely, that implied in " birthright mem- bership " of the Society of Friends. He could say for himself in good faith what Lowell said with less of strict personal significance : — " We draw our lineage from the oppressed." Nor was it from the oppressed alone, but he derived it from those who had suffered in a spirit so lofty and with such elevation of pur- pose as to yield through transmitted spiritual influence many of the results of the finest train- ing. No one appreciated better than he the essential dignity of the early New England aristocracy — he whose imagination could trace back his heroine's lineage through the streets of Portsmouth, N. H. : — " Her home is brave in JafEray Street, With stately stairways worn By feet of old Colonial knights And ladies gentle-born. JOHN GREENLEAF WHITTIER 71 " And on her, from the wainscot old, Ancestral faces frown — And this had worn the soldier's sword. And that the judge's gown." But what was all this to him who had learned at his mother's knee to go in fancy with Wil- liam Penn into the wilderness, or to walk with Barclay of Ury through howling mobs ? There is no better Brahmin blood than the Quaker blood, after all. It was, then, as from kinsman to kinsman, that Whittier's last verses were addressed to Oliver Wendell Holmes. WHITMAN Walt, or Walter, Whitman was bom at West Hills, Long Island, on the 31st of May, 18 19, and was educated in the public schools of Brook- lyn and New York city. He afterwards learned printing, and worked at that trade in summer, teaching in winter. Later on he acquired a good deal of skill as a carpenter. For brief periods of his career he edited newspapers in New Orleans and on Long Island, and in 1847- 48 he made long pedestrian tours through the United States, generally following the courses of the great Western rivers. He also made pe- destrian explorations in Canada. His ' Leaves of Grass' was first published in 1855. During the Civil War his brother was wounded on the battle-field, and he hastened to visit him in camp, becoming a volunteer army nurse, in which ca- pacity he served for three years in Washington and in Virginia. His experiences are recorded in " Drum-Taps " and other poems. Want of rest and nervous strain brought on a severe illness in 1864, from the effects of which he never fully recovered. In 1870 he published WHITMAN 73 his "Democratic Vistas." From 1865 to 1874 he held a government clerkship in Washington. In the latter year he was stricken by paralysis and retired to Camden, where he was gradually recovering when the sudden death of his mother in his presence caused a relapse, and he re- mained in a somewhat crippled condition, though his intellectual powers remained unaffected. In his prime Whitman had a magnificent physique, and to the last his presence was imposing, his white hair giving him a most venerable appear- ance in his later years. At times he felt the pinch of poverty, but his wants were few and simple, and he had friends who were always ready to contribute to the relief of his necessi- ties. Among his published works may be men- tioned " Leaves of Grass," " Passage to India," "After All, Not to Create Only," "Two Rivu- lets," " Specimen Days and Collect," " Novem- ber Boughs," and " Sands at Seventy." '■ It was for a long time the curious experience of Walt Whitman to find his inspiration almost wholly in his own country, and his admirers al- most wholly in another. The rhythmic apostle of democracy, he had, in the words of one of his stanchest admirers, " absolutely no popular fol- lowing " at home ; and the gradual increase of his circle of special readers, even here, has been larsrelv amon? the class he least anoroved — 74 CONTEMPORARIES those who desire to be English even in their fads. The same thing was true, years ago, of " Joaquin " Miller ; but while he has gradually- faded from view, the robuster personality of Whitman has held its own, aided greatly by his personal picturesqueness, by recognition of his services as an army nurse, and by that rise in pecuniary value which awaits all books classed by the book venders as "facetias" or "curiosa." All this constituted a combination quite unique. To many the mere fact of foreign admiration is a sufficient proof of the greatness of an Ameri- can ; they have never outgrown that pithy pro- verb, the result of the ripe experience of a young Philadelphian of twenty -one, that "a foreign country is a kind of contemporaneous posterity." But when we remember that the scene of this particular fame was England, and that it was long divided with authors now practically forgotten, — with "Artemus Ward" and " Josh Billings " and the author of " Sam Slick," — when we remember how readily the same recognition is still given in England to any American who mispells or makes fritters of English, or who enters literature, as Lady Mor- gan's Irish hero entered a drawing-room, by throwing a back somersault in at the door, — the judicious American can by no means regard this experience as final. It must be remembered, WHITMAN 75 too, that all the malodorous portions of Whit- man's earlier poems were avowedly omitted from the first English edition of his works ; he was expurgated and fumigated in a way that might have excited the utmost contempt from M. Guy de Maupassant, or indeed from himself ; and so the first presentation of this poet to his English admirers showed him, as it were, clothed and in his right mind. Again, it is to be re- membered that much of the vague sentiment of democracy in his works, while wholly pictur- esque and novel to an Englishman, — provided he can tolerate it at all, — is to us comparatively trite and almost conventional It is the rhythmic or semi-rhythmic reproduction of a thousand Fomrth of July orations, and as we grow less and less inclined to hear this oft-told tale in plain prose, we are least of all tempted to read it in what is not even plain verse. There was, there- fore, nothing inexplicable in the sort of parallax which long exhibited the light of Whitman's fame at so different an angle in his own coun- try and in England. But while an English fame does not of itself prove an American to be great, — else were we aU suing for Buffalo BUl's social favor as if we were members of the British aristocracy, — it certainly does not prove that he is not great ; and it is for us to view Whitman as disnassion- 76 CONTEMPORARIES ately as if he were an author all our own, like Whittier or Parkman, of whom an English vis- itor will tell you, with labored politeness, that he has a vague impression of having heard of him. The first distinct canonization ever afforded to Whitman on our own shores was when Mr. Stedman placed him among the Dii majores of our literature by giving him a separate chapter in his " Poets of America ; " and though it is true that this excellent critic had rather cheap- ened that honor by extending it to Bayard Tay- lor, yet that was easily explainable in part by personal friendship ; and it is impossible not to see in the Whitman chapter a slightly defensive and apologetic tone such as appears nowhere else in the book. Mr. Stedman's own sense of form is so strong, his instinct of taste so trust- worthy, and his love-poetry in particular of so high and refined a quality, that he could not possibly approach Whitman with the predeter- mined sympathy that we might be ready to expect from some less cultivated or more impul- sive critics. There seems to be a provision in nature for a class of poets who appear at long intervals, and who resolutely confine themselves to a few very simple stage properties, and substitute mere cadence for form. There was for many years an Ossianic period, when simple enthusiasts sat WHITMAN Tj up at night and read until they were sleepy about the waving of the long grass on the blasted heath, and the passing of the armed warrior and the white-bosomed maiden. Ossian is not much read now, but Napoleon Bonaparte ad- mired him and Goethe studied him. Neither is Tupper now much cultivated ; but men not very old assure us that his long, rambling lines were once copied by the page into extract books, and that he was welcomed as relieving mankind from the tiresome restraints of verse. It would be a great mistake, doubtless, to class Whitman with Ossian on the one side, or Tup- per on the other ; but it would be a still greater error to overlook the fact that the mere revolt against the tyranny of form has been made again and again, before him, and that without securing immortal fame to the author of the experiment It is no uncommon thing, moreover, for the fiercest innovating poets to revert to the ranks of order before they die. Whitman abstained, through all his later publications, from those pro- clamations of utter nudity which Emerson, in my hearing, called "priapism," and was far more compressed and less simply enumerative than when he began. True poetry is not merely the putting of thoughts into words, but the putting of the best thoughts into the best words ; it secures for us what Ruskin calls "the nerfec- 78 CONTEMPORARIES tion and precision of the instantaneous line." It fires a rifle-bullet instead of a shower of bird- shot ; it culls the very best phrase out of lan- guage, instead of throwing a dozen epithets to see if one may chance to stick. For example, Emerson centres his "Problem" in "a cowled churchman ; " Browning singles out an indi- vidual bishop or rabbi, as the case may be ; but Whitman enumerates "priests on the earth, oracles, sacrificers, brahmins, sabians, llamas, monks, muftis, exhorters." In " The Song of the Broad-Axe" there are nineteen successive lines beginning with the word "Where;" in " Salut au Monde ! " eighteen beginning with " I see." In "I sing the body electric," he specifies in detail "Wrists and wrist -joints, hand, palm, knuckles, thumb, forefinger, finger-joints, finger- nails," with thirteen more lines of just such minutiae. In the same poem he explains that he wishes his verses to be regarded as " Man's, Woman's, child's, youth's, wife's, husband's, mother's, father's, young man's, young woman's poems." This is like bringing home a sackful of pebbles from the beach and asking you to admire the collected heap as a fine sea view. But it is to be noticed that these follies diminish in his later works : the lines grow shorter ; and though he does not acquiesce in rhyme, he oc- casionally accepts a rhythm so well defined that WHITMAN 79 it may be called conventional, as in the fine verses entitled " Barest thou now, O Soul ? " j And it is a fact which absolutely overthrows the whole theory of poetic structure or struc- turelessness implied in Whitman's volumes, that his warmest admirers usually place first among his works the poem on Lincoln's death, " My Captain," which comes so near to recog- nized poetic methods that it actually falls into rhyme. Whitman can never be classed, as Spinoza was by Schleiermacher, among "God-intoxi- cated " men ; but he was early inebriated with! two potent draughts — himself and his coun- try: — " One's self I sing, a simple separate person, Yet utter the word Democratic, the word, En Masse." , With these words his collected poems open, and to these he has always been true. They have brought with them a certain access of power, and they have also implied weakness ; on the personal side leading to pruriency and on the national side to rant. For some reason or other our sexual nature is so ordained that it is very hard for a person to dwell much upon it, even for noble and generous purposes, with- out developing a tendency to morbidness ; the lives of philanthropists and reformers have sometimes shown this ; and when one insists on 8o CONTEMPORARIES this part of our nature for purposes of self- glorification, the peril is greater. Whitman did not escape the danger ; it is something tha he outgrew it ; and it is possible that if let entirely alone, which could hardly be expected, he might have dropped " Children of Adam," and some of the more nauseous passages in other effusions, from his published works. One thing which has always accentuated the seeming grossness of the sensual side of his poems has been the entire absence of that personal and ideal side of passion which alone can elevate and dignify it. Probably no poet of equal pretensions was ever so entirely want- ing in the sentiment of individual love for wo- man ; not only has he given us no love-poem, in the ordinary use of that term, but it is as difficult to conceive of his writing one as of his chanting a serenade beneath the window of his mistress. His love is the blunt, undisguised attraction of sex to sex ; and whether this appe- tite is directed towards a goddess or a street- walker, a Queensbury or a handmaid, is to him absolutely unimportant. This not only sepa- rates him from the poets of thoroughly ideal emotion, like Poe, but from those, like Rossetti, whose passion, though it may incarnate itself in the body, has its sources in the soul. WHITMAN 8l As time went on, this less pleasing aspect be- came softened ; his antagonisms were disarmed by applauses ; although this recognition some- times took a form so extreme and adulatory that it obstructed his path to that simple and unconscious life which he always preached but could not quite be said to practice. No oneT can be said to lead a noble life who writes puffs of himself and offers them to editors, or who borrows money of men as poor as himself and fails to repay it. Yet his career purified itself, as many careers do, in the alembic of years, and up to the time of his death (March 26, 1892) he gained constantly both in friends and in readers. Intellectually speaking, all critics now admit that he shows in an eminent degree that form of the ideal faculty which Emerson conceded to Margaret Fuller — he has "lyric glimpses." /Rarely constructing anything, he is yet singularly gifted in phrases, in single cadences, in casual wayward strains as from an jEolian harpj It constantly happens that the titles or catch-words of his poems are better than the poems themselves ; as we sometimes hear it said in praise of a clergyman that he has beautiful texts. "Proud Music of the Storm," "When Lilacs Last in the Door-yard Bloomed," and others, will readily occur to memory. Often, on the other hand, thev are 82 CONTEMPORARIES inflated, as " Chanting the Square Deific, " or affected and feeble, as " Eidolons." One of the most curiously un-American traits in a poet professedly so national is his way of interlard- ing foreign, and especially French, words to a degree that recalls the fashionable novels of the last generation, and gives an incongruous effect comparable only to Theodore Parker's description of an African chief seen by some one at Sierra Leone, — " With the exception of a dress-coat, his Majesty was as naked as a pestle." In the opening lines, already quoted from one of his collected volumes (ed. 1881), Whitman defines "the word Democratic, the word En Masse ; " and everywhere French phrases present themselves. The vast sublim- ity of night on the prairies only suggests to him " how plenteous ! how spiritual ! how rSsumi" whatever that may mean ; he talks of " Mdange mine own, the seen and the unseen ; " writes poems "with reference to ensemble ; " says "the future of the States I harbinge glad and sub- lime ; " and elsewhere, " I blow through my embouchures my loudest and gayest for them." He is "the extolled of amies" — meaning ap- parently mistresses ; and says that neither youth pertains to him. "nor delicatesse" Phrases like these might be multiplied inde- finitely, and when he says, "No dainty dolce WHITMAN 83 affettuoso I," he seems vainly to disclaim being exactly what he is. He cannot even introduce himself to the audience without borrowing a foreign word, — " I, Walt Whitman, one of the roughs, a kosmos, " — and really stands in this respect on a plane not much higher than that of those young girls at boarding-school who commit French phrases to memory in order to use them in conversation and give a fancied tone of good society. But after all, the offense, which is a trivial affectation in a young girl, has a deeper foun- dation in a man who begins his literary career at thirty-seven. The essential fault of Whit- man's poetry was well pointed out by a man of more heroic nature and higher genius, Lanier, who defined him as a dandy. Of all our poets, he is really the least simple, the most mere- tricious ; and this is the reason why the honest consciousness of the classes which he most celebrates, — the drover, the teamster, the soldier, — has never been reached by his songs. He talks of labor as one who has never really labored; his "Drum-Taps" proceed from one who has never personally responded to the tap of the drum. This is his fatal and insurmount- able defect ; and it is because his own country- men instinctively recognize this, and foreigners do not. that his foUowiner has alwavs been larsrer 84 CONTEMPORARIES abroad than at home. But it is also true that he has, in a fragmentary and disappointing way, some of the very highest ingredients of a poet's nature : a keen eye, a ready sympathy, a strong jtouch, a vivid but not shaping imagination. In his cyclopaedia of epithets, in his accumulated directory of details, in his sandy wastes of iter- ation, there are many scattered particles of gold — never sifted out by him, not always abundant enough to pay for the sifting, yet un- mistakable gold. He has something of the turgid wealth, the self-conscious and mouthing amplitude of Victor Hugo, and much of his broad, vague, indolent desire for the welfare of the whole human race ; but he has none of Hugo's structural power, his dramatic or melo- dramatic instinct, and his occasionally terse and brilliant condensation. It is not likely that he will ever have that place in the future which is claimed for him by his English ad- mirers or even by the more cautious indorse- ment of Mr. Stedman; for, setting aside all other grounds of criticism, he has phrase, but not form — and without form there is no im- mortality. LANIER Emerson said of Shelley — quite unjustly, to my thinking — that although uniformly a poetic mind, he was never a poet. As to all the Southern poets of the United States ex- cept Lanier, even as to Hayne and Pinkney, the question still remains whether they got actually beyond the poetic mind. In Lanier's case alone was the artistic work so continuous and systematic, subject to such self-imposed laws and tried by so high a standard, as to make it safe, in spite of his premature death, to place him among those whom we may with- out hesitation treat as " master-singers." Even among these, of course, there are grades ; but as Lowell once said of Thoreau, " To be a mas- ter is to be a master." With Lanier, music and poetry were in the blood. We in America are beginning to study "heredity" with renewed interest, not in the narrow way in which pedigrees are studied in England, but with reference to the inheritance of brains and high qualities. It is a satisfac- tion to know that Sidney Lanier had an an- 86 CONTEMPORARIES cestor, Jerome, who was probably a musical composer at the court of Queen Elizabeth; and that Nicholas, the son of this Jerome, was director of music for James I. and Charles I., and was a friend of Van Dyck, who painted his portrait. Still another Nicholas Lanier was the first presiding officer of the Society of Musi- cians, incorporated at the restoration of Charles II., and four other Laniers were among the corporate members of this society. A Sir John Lanier fought at the Battle of the Boyne and fell at Steinkirk. These facts are brought to- gether by the Rev. W. H. Ward, in his life of Sidney Lanier ; and he also assures us that the progenitor of the American branch of the fam- ily, Thomas Lanier, came to this country in 1 716 — not very long since, as American pedi- grees go, — and that he settled with other im- migrants on a grant ten miles square, including the site of the present city of Richmond, Va. The father of the poet was Robert S. Lanier, a lawyer who was still living in 1884, at Macon, Ga. His mother was Mary (Anderson) Lanier, a Virginian of Scotch descent. The poet was bom at Macon February 3, 1842, and died at Lynn, N. C, September 7, 1881. In addition to the musical tradition, prevail- ing in the Lanier family, he is said to have had kindred inheritances on the " spindle side." LANIER 87 Music was at any rate his first passion. As a boy he taught himself to play the flute, organ, piano, violin, guitar, and banjo; the first-named instrument being always his favorite, or, per- haps, that of his father, who " feared for him the powerful fascination of the violin." But his parents rather dreaded this absorption in music, apparently thinking with Dr. Johnson that musicians were "amusing vagabonds." The same thought caused a struggle in the boy's own mind, for he wrote at eighteen that though he was conscious of having "an extraor- dinary musical talent," yet music seemed to him " so small a business in comparison with other things " which he might do that he wished to forsake the art. It appears from the same note-book that he already felt himself called to a literary career. He was at this time a stu- dent at Oglethorpe College, a Presb)rterian in- stitution, now extinct, near Midway, Ga. Here he graduated at eighteen, with the first honors of his class, although he had lost a year during which he was a clerk in the post-ofiice at Macon. At Oglethorpe College he came under the influence of Professor James Woodrow, to whom he always expressed great obligations. Lanier became a tutor in the college on gradu- ating, but left his post to enlist as a private in the Confederate army. 88 CONTEMPORARIES He enlisted in the Macon Volunteers of the Second Georgia Battalion, the first military force which left Georgia for the seat of war. He remained in the service during the whole war, and, though three times offered promo- tion, would never accept it, from a desire to re- main near his younger brother, who was in the same regiment. He was in the battle of Seven Pines, that of Drewry's Bluffs, and the seven days of fighting about Richmond, Va., includ- ing Malvern Hill. After this campaign he was transferred with his brother to the signal ser- vice, because, as envious companions said, he could play the flute. In 1863 his detachment was mounted ; and later, each of the two bro- thers was detailed to take charge of a ves- sel which was to run the blockade. Sidney was captured and spent five months as a pris- oner at Point Lookout, having concealed his flute in his sleeve and keeping it always as a companion. He describes this period in his story, " Tiger Lilies ; " and it was almost at the end of the war that he was exchanged. This event took place in February, 1865 ; and he returned home on foot, having only his flute and the twenty-dollar gold piece which had not been taken from him when his pockets were searched, on his capture. He reached home March 15, and was dangerously ill for six LANIER 89 weeks, during which his mother died of the pulmonary disease which he had plainly inher- ited. For nearly eighteen months he filled a clerk- ship at Montgomery, Ala., and soon after vis- ited New York to publish his novel, " Tiger Lilies," which had been written in three weeks during April, 1867. It is an extravagant and high-flown book, and with something of the exuberance of color that its name implies. In September of that year he took charge of an academy at Prattville, Ala., and was married in December to Miss Mary Day of Macon, Ga. His disease soon developed ; he gave up his school and went to Macon, studying law with his father, and even practicing; going to New York for treatment, to Texas for health, but always with declining strength and increased longings for a literary career. At last, in December, 1873, he took up his abode in Baltimore, having made an engage- ment as first flute for the Peabody Symphony Concerts. Here he resided for the rest of his life, engaged always in a threefold struggle, for health, for bread, and for a literary career. To his father, who kept open for him a place in the law oiifice at Macon, he wrote (November 29, 1873) that, first, his chance for life was ten times greater at Baltimore; that, secondly, he 90 CONTEMPORARIES could not consent to be a third-rate struggling lawyer for the rest of his life ; and that in the third place, he had been assured by good judges that he was "the greatest flute player in the world," and had also every encouragement for success in literature. As a result he stayed, breaking down at short intervals, but playing in the orchestra winter after winter, — writing, lecturing, teaching. From time to time he sought health in Texas, Florida, Pennsylvania, North Carolina, or Virginia. He studied labo- riously, as his books bear witness ; and he cor- responded largely with Bayard Taylor, always friendly to unappreciated genius. In Taylor's " Memoirs " some of these letters are included. No passage in them tells so much of Lanier's earlier life as this extract, written August 7, 1875: — " I could never describe to you what a mere drought and famine my life has been, as regards that multitude of matters which I fancy one absorbs when one is in conversational relation with men of letters, with travelers, with per- sons who have either seen or written or done large things. Perhaps you know that with us of the younger generation in the South since the war, pretty much the whole of life has been merely not dying." (Memorial by W. H. Ward, jcxiv.) LANIER 91 Thus far I have followed mainly the lines in- dicated by Mr. Ward, his biographer. From this time forth Lanier's life can be traced from book to book. His early novel seems to have fallen dead, like the early novels of most people. Be- fore this time he had published a few poems in Southern newspapers, and then in the " Round Table " (New York) ; but the iirst thing that brought public attention to him was a poem on " Corn " in " Lippincott's Magazine " for Febru- ary, 1875. After this he printed many poems, there and elsewhere ; published a volume on Florida (Philadelphia: Lippincott, 1876) ; and a thin volume of collected poems (same publishers, 1877). There are less than a hundred pages of this little venture, and but ten separate poems, yet they strike the whole range of his ambition, his sensitiveness, his dream of elaborate musi- cal construction, — the longest is, indeed, called "A Symphony," — and his peculiar effects of rhythm. They are daring, impetuous, bristling with strophe and antistrophe, with dramatic appeal and response, but always single-minded, noble, pure. Even where the effect is merely startling and scintillating, lighted by Roman candles instead of electric lights, there is still a signal purity in the illumination, and even if the flame goes out, no bad odor is left behind. But it was not enough for him to write poetry ; 92 CONTEMPORARIES he must give to the world his methods and his principles. He had theories of poetic art, and it was these theories, more than any personal celebrity, which he desired the world to accept. In a fine letter to his wife he writes, "It is of little consequence whether / fail ; the / in the matter is a small business. ' Que mon nom soit fl^tri, que la France soit litre,' quoth Dan- ton." (Ward's Memorial, xxiii.) To keep the wolf from the door, he compiled "The Boy's Froissart" (1878), "The Boy's King Arthur" {1880), "The Boy's Mabinogion" (1881), and "The Boy's Percy" (1882), — all published by Scribners' Sons in New York, and all excellent bits of work, done with enthusiasm. He did in these for the mediaeval and later legends what Hawthorne and others had done for the Greek mythology ; and many a child owes to him all that he knows of these delight- ful sources of romance. But it was into his "Science of English Verse" that he was to pour his whole enthusiasm, and it was this, in connection with his own poems, that was to prove his monument. How large its circulation has been, I do not know ; but the condition of the copy before me — belonging to Harvard College Library — is a sufficient proof that it has had and still holds a powerful attraction for young students. By the record of dates at the LANIER 93 end of the copy, I find that it was taken out once in 1880, five times in 1881, twice in 1882, four times in 1883, seven times in 1884, six times in 1885, and nineteen times in 1886, be- ing afterwards put upon the list of books to be kept only a fortnight, and being out, the libra- rian tells me, literally all the time. Any author might be proud to find his book so appreciated by students six years after its first appearance. This is no place for analyzing its theory, even were my technical knowledge of music sufficient to do it justice. To me it seems ingenious, suggestive, and overstrained, but it is easy to believe that to one who takes it on that middle ground where Lanier dwelt, halfway between verse and music, it might seem conclusive and even become a text-book in art. Most of us associate its fundamental proposi- tion with the poet Coleridge, who in his " Chris- tabel " announced it as a new principle in Eng- lish verse that one should count by accents, not by syllables. This bold assertion, which at once made the transition from the measured strains of Dryden and Pope to the free modern rhythm, was true in the sense in which Coleridge prob- ably meant it ; nor does it seem likely that Cole- ridge overlooked what Lanier points out, — that all our nursery rhymes and folk songs are writ- ten on the same principle. But waiving this 94 CONTEMPORARIES criticism on Coleridge, there is certainly no- thing more interesting in Lanier's book than when he shows that, just as a Southern negro will improvise on the banjo daring variations, such as would, if Haydn employed them, be called high art, so Shakespeare often employed the simplest devices of sound such as are fa- miliar in nursery songs, and thus produced effects which are lyrically indistinguishable from those of Mother Goose. (Science, etc., p. 190.) But Lanier would have been only hindered, rather than helped, by his attempts at a science of verse, had he written his own poetry upon a theory alone. In that case there might have been applied to him Thoreau's incidental epitaph on certain writers, "Thus do poets go down stream and drift into science and prose." But Lanier, too true a poet to do this, saves himself on his last page in a brief chapter entitled " On the Educated Love of Beauty as the Artist's only Law." Here he tersely explains that all his previous propositions are hints only, and not laws. " For the artist in verse there is no law ; the perception and love of beauty constitute the whole outfit ; and what is herein set forth is to be taken merely as enlarging that perception and exalting that love. In all cases the appeal is, the ear ; but the ear should for that purpose LANIER 95 be educated up to the highest possible plane of culture." When we turn from Lanier's theory to his practice we find this perpetual appeal to the ear, and see that the application of his own theory is implicit rather than explicit. But we must read his poetry also in the light of his last prose book, entitled "The English Novel, and the Principle of its Development." This book is made up of lectures given before the Johns Hopkins University at Baltimore, and was never revised by himself ; but the editor, in his prefa- tory note, states that this work and its prede- cessor formed really but successive " parts of a comprehensive philosophy of formal and sub- stantial beauty in literature ; " and as the first book dealt with the forms of poetic execution, so this takes up the substantials, — the selec- tion of themes, treatment of accessories, and the like, — and gives us admirable incidental criticism of various authors. Lanier was a critic of the best kind, for his criticism is such as a sculptor receives from a brother sculptor, not such as he gets from the purchaser on one side or the marble worker on the other. It is admirable, for instance, when he says of Swinburne, " He invited me to eat ; the service was silver and gold, but no food therein save pepper and salt ; " or of William 96 CONTEMPORARIES Morris, " He caught a crystal cupful of yellow light of sunset, and persuading himself to deem it wine, drank it with a sort of smile." But the best and fullest of these criticisms are those made on Whitman. Whitman represented to Lanier a literary spirit alien to his own. There could be little in common between the fleshliness of " Leaves of Grass " and the refined chivalry that could write in "The Symphony" lines like these : — " Shall ne'er prevail the woman's plea, We maids would far, far whiter be. If that our eyes might sometimes see Men maids in purity ? " A man who, with pulmonary disease upon him, could still keep in his saddle as a soldier, could feel but little sympathy with one who, with a superb physique, elected to serve in hospi- tal — honorable though that service might be for the feeble-bodied. One who viewed poetic structure as a matter of art could hardly sym- pathize with what he would regard as mere recitative ; and one who chose his material and treatment with touch and discrimination, could make no terms with one who was, as he said, "poetry's butcher," and offered as food only " huge raw collops cut from the rump of poetry, and never mind gristle." (Memoir, xxxviii.) But it was Whitman's standard of LANIER ^j what he called " democracy " that troubled La- nier most. " As near as I can make it out," he writes, "Whitman's argument seems to be that, because a prairie is wide, therefore de- bauchery is admirable, and because the Missis- sippi is long, therefore every American is God." Whitman uniformly speaks of modern poetry, he says, with the contempt which he everywhere affects for the dandy. But what age of time ever yielded such a dandy as the founder of this school.'' (The English Novel, pp. 59, 60.) Then he explains himself by show- ing the attitudinizing and self-consciousness of Whitman's style, "everywhere posing to see if it cannot assume a naive and thinking atti- tude, everywhere screwing up its eyes, not into an eyeglass, like the conventional dandy, but into an expression supposed to be rough and bar- baric and frightful to the general reader. . . . It is the extreme of sophistication in writing." (p. 61.) Elsewhere again he takes up Whit- man's rejoicing in America because " here are the roughs, beards, . . . combativeness, and the like," and shows indignantly how foreign this all is to the conception of the founders of the nation, — Washington, Jefferson, Franklin, and the like. And he declares — this man of delicate fibre, who had fought through four years of wasting war — that he finds "more 98 CONTEMPORARIES true manfulness " in the life of many an un- selfish invalid woman than in "an aeon of muscle-growth and sinew-breeding." He ends with this fine aphorism, — "A republic is the government of the spirit ; a republic de- pends upon the self-control of each member; you cannot make a republic out of muscles and prairies and rocky mountains ; republics are made of the spirit." (The English Novel, p. 5S-) I have followed out this line of thought about Whitman, not merely because it seems to me fine and true, but because it draws Lanier into sharper expression and more char- acteristic statement than are to be found any- where else in his works. That he could criti- cise profoundly one much nearer to himself than Whitman is plain when he comes to speak of Shelley, of whom he has a sentence that iseems to me, coming fresh from Dowden's ex- haustive memoir of that rare spirit, another shot in the bull's-eye of the target. He says : — "In truth, Shelley appears always to have labored under an essential immaturity; it is very possible that if he had lived a hundred years he would never have become a man ; he was penetrated with modern ideas, but pene- trated as a boy would be, crudely, overmuch, and with a constant tendency to the extrava- LANIER 99 gant and illogical, — so that I call him the Modern Boy." (The English Novel, p. 99.) Again, much of the book is given to a discus- sion of George Eliot, in whom he finds the best type of the recent novelist. He stops short of the later realism which proclaims its own merits with such honest frankness ; and his real plan is to trace " the growth of human personality " from ^schylus through Plato and Aristotle, then down through the Renaissance, Shakespeare, Richardson, and Fielding, to Dick- ens and George Eliot. There he stops, but the book is full of suggestion, freshness, life, and manliness. It remains to be said that in Lanier's poetry we find the working out of these ideas, but in the free faith which he held. There is uni- formly a wonderful beat and cadence to them, — a line of a dozen syllables mating with a line of a single syllable in as satisfactory a move- ment as can be found in his favorite Mother Goose or in the " patting Juba " of a planta- tion singer. The volume of his poetry is less than that of Hayne, but its wealth and depth is greater. Having spent so much of his life in playing the flute in an orchestra, he has also an ear for the distribution of instruments, and this gives him a desire for the antiphonal, for introducing an answer or echo or compensating 100 CONTEMPORARIES note. In the poem that most arrested atten- tion, — the "Cantata" at the opening of the Philadelphia Exposition, — this characteristic was so developed as to give an effect of exag- geration and almost of grotesqueness, which was, however, so relieved by the music that the impression soon passed away. But in his de- scription of sunrise in the first of his hymns of the marshes he puts not merely such a wealth of outdoor observation as makes even Thoreau seem thin and arid, but combines with it a roll and range of rhythm such as Lowell's " Commemoration Ode " cannot equal, and only some of Browning's early ocean cadences can surpass. There are inequalities in the poem, little spasmodic phrases here and there, or fancies pressed too hard, — he wrote it, poor fellow, when far gone in his last illness, with his pulse at one hundred and four degrees, and when unable to raise his food to his mouth, — but the same is true of Keats's great frag- ments, and there are lines and phrases of La- nier's that are not excelled in "Endymion," and perhaps not in " Hyperion." It was a piece of good fortune for his fame — or rather, perhaps, a service won by his own high merits — that Lanier secured a biographer and editor so admirably equipped as Mr. W. H.Ward. All that Lanier did, afforded merely a glimpse LANIER loi of what he might have done, had health and time been given him, but these were not given, and his literary monument remains unfinished. He died of consumption at Baltimore, at the age of thirty-nine, September 7, 1881, leaving a wife and four boys. His work will long live as that of the Sir Galahad among our Ameri- can poets. AN EVENING WITH MRS. HAW- THORNE The news of Mrs. Hawthorne's death re- minded me of a happy evening spent beneath the roof of that most gracious and lovable woman, at a time when for me to visit Haw- thorne's house was to make a pilgrimage to a shrine. I will not dwell on the more private and personal interests of the occasion, but I re- member that in approaching the house I thought of Keats' s fine description of his visit to the home of Burns, when he "felt as if he were going to a tournament." Beginning with some such emotion, I felt very rich that evening when Mrs. Hawthorne put into my hand several volumes of those diaries which carry us so near the heart of this great writer. As I reverently opened one, it seemed a singular Sortes Virgiliance that my eye should first fall upon this passage , " I am more an Abolitionist in feeling than in princi- ple." It was in a description of some festival day in Maine, when Hawthorne's keen eye had noted the neat looks and courteous demeanor AN EVENING WITH MRS. HAWTHORNE 103 of a party of colored people. It removed at once the slight barrier by which the suspicious conscience of a reformer had seemed to sepa- rate me from him. I had seen him but twice, — remotely, as ♦a boy looks at a celebrated man, — but it had always been painful to me that he, alone among the prominent literary men of New England, should be persistently arrayed on what seemed to me the wrong side. From that moment I convinced myself that his heart was really on our side, and that only the influence of his early friend Pierce had led him to different political conclusions. Then, I remember, Mrs. Hawthorne asked her younger daughter to sing to us ; and she sang dreamy and thoughtful songs, such as " Consider the Lilies," and Tennyson's " Break, break, break," and "Too Late." "It is not singing, it is eloquence," said afterwards the proud and loving mother, from whose own thrilling and sympathetic voice the eloquence seemed well inherited. Mrs. Hawthorne had always seemed to dwell in an ideal world, through her own poetic nature as well as through her husband's. I watched her as she sat on her low chair by the fire, while the music lasted ; her hair was white, her cheeks pallid, and her eyes full of tender and tremu- lous light. To have been the object of Haw- 104 CONTEMPORARIES thorne's love imparted an immortal charm and sacredness to a life that, even without that added association, would have had an undying grace of its own. She having thus lived and loved, gelebt und geliebet, it seemed as if her existence never could become more spiritual or unworldly than it already was. After her children had left us for the night, we sat and talked together ; or rather I ques- tioned and she answered, telling me of her husband's home life and also of his intercourse with strangers ; saying, what touched but did not surprise me, that men who had committed great crimes or whose memories held tragic secrets would sometimes write to him, or would even come great distances to see him, and unbur- den their souls. This was after the publication of the " Scarlet Letter," which made them re- gard him as the father-confessor for all hidden sins. And that which impressed me most, after all, was her description of the first reading of that masterpiece. For this I have not to rely on memory alone, because I wrote it down, just afterwards, in my chamber, — a room beneath Hawthorne's study, in the tower which he had added to the house. She said that it was not her husband's custom to sit with her while he wrote, or to tell her about any literary work till it was AN EVENING WITH MRS. HAWTHORNE 105 finished, but that then he was always impatient to read it to her. In writing the " Wonder- Book," to be sure, he liked to read his day's work to the children in the evening, by way of test. She added that while thus occupied with that particular book, he was in high spirits ; and this, as I knew, meant a good deal, for his daughter had once told me that he was capable of being the very gayest person she ever saw, ' and that " there never was such a playmate in all the world." But during the whole winter when the "Scar- let Letter " was being written he seemed de- pressed and anxious. " There was a knot in his forehead all the time," Mrs. Hawthorne said, but she thought it was from some pecun- iary anxiety, such as sometimes affected that small household. One evening he came to her and said that he had written something which he wished to read aloud; it was worth very little, but as it was finished, he might as well read it. He read aloud all that evening ; but as the romance was left unfinished when they went to bed, not a word was said about it on either side. He always disliked, she said, to have anything criticised until the whole had been heard. He read a second evening, and the concentrated excitement had grown so great that she could scarcely bear it. At last it grew unendurable ; io6 CONTEMPORARIES and in the midst of the scene, near the end of the book, where Arthur Dimmesdale meets Hester and her child in the forest, Mrs. Haw- thorne sank from her low stool upon the floor, pressed her hands upon her ears, and said that she could hear no more. Hawthorne put down the manuscript and looked at her in perfect amazement. " Do you really feel it so much ?" he said. "Then there must be something in it." He prevailed on her to rise and to hear the few remaining chapters of the romance. To those who knew Mrs. Hawthorne's im- pressible nature, this reminiscence of hers will have no tinge of exaggeration, but will appear very characteristic, — she had borne to the utmost the strain upon her emotions, before yielding. The next day, she said, the manu- script was delivered to Mr. Fields ; on the fol- lowing morning he appeared early at the door, and when admitted, caught up her boy in his arms, saying, " You splendid little fellow, do you know what a father you have > " Then he ran upstairs to Hawthorne's study, telling her, as he went, that he (and I think Mr. Whipple) had sat up all night to read it, and had come to Salem as early as possible in the morning. She did not go upstairs, but soon her husband came down, with fire in his eyes, and walked about the room, a different man. AN EVENING WITH MRS. HAWTHORNE 107 I have hesitated whether to print this brief narrative ; and yet everything which illustrates the creation of a great literary work belongs to the world. How it would delight us all, if the Shakespeare societies were to bring to light a description like this of the very first reading of " Macbeth " or of " Hamlet " ! To me it is somewhat the same thing to have got so near to the birth-hour of the " Scarlet Letter. " So I felt, at least, that evening ; and she who had first heard those wondrous pages was there before me, still sitting on the same low chair whence she had slipped to the floor, with her hands over her ears, just as the magician had wrought his spell to its climax. Now his voice and hers, each so tender and deep and with the modulation of some rare instrument, have alike grown silent, only to blend elsewhere, let us hope, in some loftier symphony. " Now long that instrument has ceased to sound, Now long that gracious form in earth hath lain, Tended by nature only, and unwound Are all those mingled threads of love and pain ; So let us weep, and bend Our heads, and wait the end, Knowing that God creates not thus in vaiu." LYDIA MARIA CHILD To those of us who were by twenty years or more the juniors of Mrs. Child, she always pre- sented herself rather as an object of love than of cool criticism, even if we had rarely met her face to face. In our earliest recollections she came before us less as author or philanthropist than as some kindly and omnipresent aunt, beloved forever by the heart of childhood, — some one gifted with all lore, and furnished with un- fathomable resources, — some one discoursing equal delight to all members of the household. In those days she seemed to supply a sufficient literature for any family through her own unaided pen. Thence came novels for the parlor, cookery books for the kitchen, and the "Juvenile Miscellany" for the nursery. In later years the intellectual provision still con- tinued. We learned, from her anti-slavery writings, where to find our duties; from her " Letters from New York, " where to seek our highest pleasures ; while her " Progress of Re- ligious Ideas " introduced us to those profounder truths on which pleasures and duties alike rest. LYDIA MARIA CHILD 109 It is needless to debate whether she did the greatest or most permanent work in any especial department of literature, since she did pioneer work in so many. She showed memorable in- dependence in repeatedly leaving beaten paths to strike out for herself new literary directions, and combined the authorship of more than thirty books and pamphlets with a singular de- votion both to public and private philanthropies, and with almost too exacting a faithfulness to the humblest domestic duties. Lydia Maria Francis was born at Medford, Mass., February 11, 1802. Her ancestor, Richard Francis, came from England in 1636, and settled in Cambridge, where his tombstone may still be seen in the burial-ground. Her paternal grandfather, a weaver by trade, was in the Concord fight, and is said to have killed five of the enemy. Her father, Convers Fran- cis, was a baker, first in West Cambridge, then in Medford, where he first introduced the article of food still known as " Medford crackers." He was a man of strong character and great indus- try. Though without much cultivation, he had uncommon love of reading ; and his anti-slavery convictions were peculiarly zealous, and must have influenced his children's later career. He married Susannah Rand, of whom it is only recorded that " she had a simple, loving heart, and a spirit busy in doing good." no CONTEMPORARIES They had six children, of whom Lydia Maria was the youngest, and Convers the next in age. Convers Francis was afterwards eminent among the most advanced thinkers and scholars of the Unitarian body, at a time when it probably sur- passed all other American denominations in the intellectual culture of its clergy. He had less ideality than his sister, less enthusiasm, and far less moral courage; yet he surpassed most of his profession in all these traits. He was Theodore Parker's first scholarly friend, and directed his studies in preparation for the theological school. Long after, Mr. Parker used still to head certain pages of his journal, " Questions to ask Dr. Francis. " The modest "study" at Watertown was a favorite head- quarters of what were called "the transcen- dentalists " of those days. Emerson, Margaret Fuller, Ripley, and the rest came often thither, in the days when the "Dial" was just eman- cipating American thought from old-world tra- ditions. Afterwards, when Dr. Francis was appointed to the rather responsible and con- servative post of professor in the Harvard The- ological School, he still remained faithful to the spirit of earlier days, never repressing free inquiry, but always rejoicing to encourage it. He was a man of rare attainments in a vari- ety of directions ; and though his great read- LYDIA MARIA CHILD in ing gave a desultory habit to his mind, and his thinking was not quite in proportion to his receptive power, he still was a most valuable instructor, as he was a most delightful friend. In face and figure he resembled the pictures of Martin Luther, and his habits and ways always seemed like those of some genial German pro- fessor. With the utmost frugality in other re- spects, he spent money profusely on books, and his library — part of which he bequeathed to Harvard College — was to me the most attractive I had ever seen ; more so than even Theodore Parker's. His sister had, undoubtedly, the superior mind of the two ; but he who influenced others so much must have influenced her still more. " A dear good sister has she been to me ; would that I had been half as good a bro- ther to her." This he wrote, in self-depre- ciation, long after. While he was fitting for college, a process which took but one year, she was his favorite companion, though more than six years younger. They read together, and she was constantly bringing him Milton and Shakespeare to explain. He sometimes mystified her, — as brothers will, in dealing with maidens nine years old, — and once told her that "the raven down of darkness," which was made to smile, was but the fur of a black 112 CONTEMPORARIES cat that sparkled when stroked ; though it still perplexed her small brain why fur should be called down. Their earliest teacher was a maiden lady, named Elizabeth Francis, — but not a relative, — and known universally as "Ma'am Betty." She is described as " a spinster of supernatural shyness, the never-forgotten calamity of whose life was that Dr. Brooks once saw her drinking water from the nose of her tea-kettle." She kept school in her bedroom, — it was never tidy, and she chewed a great deal of tobacco ; but the children were fond of her, and always carried her a Sunday dinner. Such simple kindnesses went forth often from that thrifty home. Mrs. Child once told me that always on the night before Thanksgiving, all the hum- ble friends of the household — " Ma'am Betty," the washerwoman, the berry-woman, the wood- sawyer, the journeymen-bakers, and so on — some twenty or thirty in all, were summoned to a preliminary entertainment. They here partook of an immense chicken-pie, pumpkin-pies (made in milk-pans), and heaps of doughnuts. They feasted in the large old-fashioned kitchen, and went away loaded with crackers and bread by the father, and with pies by the mother, not forgetting "turnovers" for their children. Such homely applications of the doctrine " It is LYDIA MARIA CHILD 113 more blessed to give than to receive " may have done more to mould the Lydia Maria Child of maturer years than all the faithful labors of good Dr. Osgood, to whom she and her brother used to repeat the Westminster Assembly's Catechism once a month. Apart from her brother's companionship, the young girl had, as was then usual, a very subordi- nate share of educational opportunities ; attend- ing only the public schools, with one year at the private seminary of Miss Swan, in Medford. Her mother died in 18 14, after which the fam- ily removed for a time to Maine. In 18 19 Con- vers Francis was ordained over the First Parish in Watertown, and there occurred in his study, in 1824, an incident which was to determine the whole life of his sister. Dr. J. G. Palfrey had written in the " North American Review" for April, 1821, a review of the now forgotten poem of " Yamoyden," in which he had ably pointed out the use that might be made of early American history for the pur- poses of fictitious writing. Miss Francis read this article, at her brother's house, one summer Sunday noon. Before attending the afternoon service, she wrote the first chapter of a novel. It was soon finished, and was published that year, — a thin volume of two hundred pages, without her name, under the title of " Hobo- 114 CONTEMPORARIES mok: a Tale of Early Times. By an Ameri- can." In judging of this little book, it is to be re- membered that it marked the very dawn of American imaginative literature. Irving had printed only his " Sketch Book ; " Cooper only " Precaution." This new production was the hasty work of a young woman of nineteen — an Indian tale by one who had scarcely even seen an Indian. Accordingly, " Hobomok " now seems very crude in execution, very improbable in plot ; and is redeemed only by a certain earnestness which carries^ the reader along, and by a sincere attempt after local coloring. It is an Indian " Enoch Arden," with important modifications, which unfortu- nately all tend away from probability. Instead of the original lover who heroically yields his place, it is to him that the place is given up. The hero of this self-sacrifice is an Indian, a man of high and noble character, whose wife the heroine had consented to become, at a time when she had been almost stunned with the false tidings of her lover's death. The least artistic things in the book are these sudden nuptials, and the equally sudden resolution of Hobomok to abandon his wife and child on the reappearance of the original betrothed. As the first work whose scene was laid in Puritan LYDIA MARIA CHILD iij days, " Hobomok " will always have a historic interest, but it must be read in very early youth to give it any other attraction. The success of this first effort was at any rate such as to encourage the publication of a second tale in the following year. This was " The Rebels ; or, Boston before the Revolution. By the author of ' Hobomok.' " It was a great advance on its predecessor, with more vigor, more variety, more picturesque grouping, and more animation of style. The historical point was well chosen, and the series of public and private events well combined, with something of that tendency to the over-tragic which is common with young authors, — it is so much easier to kill off superfluous characters than to do anything else with them. It compared not unfavorably with Cooper's revolutionary novels, and had in one respect a remarkable success. It contained an imaginary sermon by White- field and an imaginary speech by James Otis. Both of these were soon transplanted into " School Readers " and books of declamation, and the latter, at least, soon passed for a piece of genuine revolutionary eloquence. I remem- ber learning it by heart, under that impression; and was really astonished, on recently reading "The Rebels" for the first time, to discover that the high-sounding periods which I had Il6 CONTEMPORARIES always attributed to Otis were really to be found in a young lady's romance. This book has a motto from Bryant, and is "most respectfully inscribed " to George Tick- nor. The closing paragraph states with some terseness the author's modest anxieties : — " Many will complain that I have dwelt too much on political scenes, familiar to every one who reads our history ; and others, on the con- trary, will say that the character of the book is quite too tranquil for its title. I might men- tion many doubts and fears still more impor- tant ; but I prefer silently to trust this humble volume to that futurity which no one can fore- see and every one can read." The fears must soon have seemed useless, for the young novelist early became almost a fashionable lion. She was an American Fanny Burney, with rather reduced copies of Burke and Johnson around her. Her personal quali- ties soon cemented some friendships, which lasted her life long, except where her later anti-slavery action interfered. She opened a private school in Watertown, which lasted from 1 825, to 1828. She established, in 1827, the "Juvenile Miscellany," that delightful pioneer among children's magazines in America ; and it was continued for eight years. In October, 1828, she was married to David Lee Child, a lawyer of Boston. LYDIA MARIA CHILD 117 In those days it seemed to be held necessary for American women to work their passage into literature by first compiling some kind of cook- ery book. They must be perfect in that pre- liminary requisite before they could proceed to advanced standing. It was not quite as in Mar- veil's satire on Holland, " Invent a shovel and be a magistrate," but, as Charlotte Hawes has since written, " First this steak and then that stake." So Mrs. Child published in 1829 her " Frugal Housewife," a book which proved so popular that in 1836 it had reached its twen- tieth edition, and in 1855 its thirty-third. The " Frugal Housewife " now lies before me, after a great many years of abstinence from its appetizing pages. The words seem as famil- iar as when we children used to study them beside the kitchen fire, poring over them as if their very descriptions had power to allay an unquenched appetite or prolong the delights of one satiated. There were the animals in the frontispiece, sternly divided by a dissecting knife of printer's ink, into sections whose culi- nary names seemed as complicated as those of surgical science, — chump and spring, sirloin and sperib, — for I faithfully follow the original spelling. There we read with profound acqui- escence that " hard gingerbread is good to have in the family," but demurred at the reason ii8 CONTEMPORARIES given, "it keeps so well." It never kept well in ours ! There we all learned that one should be governed in housekeeping by higher consid- erations than mere worldly vanity, knowing that " many people buy the upper part, of the sparerib of pork, thinking it the most genteel ; but the lower part is more sweet and juicy, and there is more meat in proportion to the bone." Going beyond mere carnal desires, we read also the wholesome directions " to those who are not ashamed of economy." We were in- formed that " children could early learn to take care of their own clothes," — a responsibility at which we shuddered; and also that it was a good thing for children to gather blackberries, — in which we heartily concurred. There, too, we were taught to pick up twine and paper, to write on the backs of old letters, like paper- sparing Pope, and if we had a dollar a day, which seemed a wild supposition, to live on seventy-five cents. We all read, too, with in- terest, the hints on the polishing of furniture and the education of daughters, and we got our first glimpses of political economy from the " Reasons for Hard Times." So varied and comprehensive was the good sense of the book that it surely would have seemed to our child- ish minds infallible, but for one fatal admission, which through life I have recalled with dismay. LYDIA MARIA CHILD ng — the assertion, namely, that "economical peo- ple will seldom use preserves." "They are un- healthy, expensive, and useless to those who are well" This was a sumptuary law, against which the soul of youth revolted. The wise coimsels thus conveyed in this more-than-cookery book may naturally have led the way to a " Mother's Book," of more direct exhortation. This was published in 1831, and had a great success, reaching its eighth Ameri- can edition in 1845, besides twelve English edi- tions and a German translation. Doubtless it is now out of print, but one may still find at the antiquarian bookstores the " Girl's Own Book," by Mrs. Child, published during the same year. This is a capital manual of indoor games, and is worth owning by any one who has a house- ful of children, or is liable to serve as the Lord of Misrule at Christmas parties. It is illus- trated with vignettes by that wa)nvard child of genius, Francis Graeter, a German, whom Mrs. Child afterwards described in the " Letters from New York." He was a personal friend of hers, and his pencil is also traceable in some of her later books. Indeed, the drollest games which he has delineated in the " Girl's Own Book " are not so amusing as the unintentional comedy of his attempts at a "Ladies' Sewing Circle," which illustrates American life in the " History I20 CONTEMPORARIES of Woman." The fair laborers sit about a small round table, with a smirk of mistimed levity on their faces, and one feels an irresisti- ble impulse to insert in their very curly hair- the twisted papers employed in the game of " Genteel lady, always genteel," in the " Girl's Own Book." The " History of Woman " appeared in 1832, as one of a series projected by Carter & Hen- dee, of which Mrs. ChUd was to be the editor, but which was interrupted at the fifth volume by the failure of the publishers. She compiled for this the " Biographies of Good Wives," the " Memoirs " of Madame De Stael and Madame Roland, those of Lady Russell and Madame Guion, and the two volumes of "Woman." All these aimed at a popular, not a profound, treat- ment. She was, perhaps, too good a compiler, showing in such work the traits of her bro- ther's mind, and carefully excluding all those airy flights and bold speculations which after- wards seemed her favorite element. The "His- / tory of Woman," for instance, was a mere assemblage of facts, beginning and ending ab- ruptly, and with no glimpse of any leading thought or general philosophy. It was, how- ever, the first American storehouse of informa- tion upon that whole question, and no doubt helped the agitation along. Its author evi- LYDIA MARIA CHILD 121 dently looked with distrust, however, on that rising movement for the equality of the sexes, of which Frances Wright was then the rather formidable leader. The " Biographies of Good Wives " reached a fifth edition in the course of time, as did the "History of Woman." I have a vague child- ish recollection of her next book, " The Coro- nal," published in 1833, which was of rather a fugitive description. The same year brought her to one of those bold steps which made suc- cessive eras in her literary life, — the publica- tion of her " Appeal for that Class of Ameri- cans called Africans." The name was rather cumbrous, like all at- tempts to include an epigram in the title-page, but the theme and the word " Appeal " were enough. It was under the form of an "Ap- peal " that the colored man, Alexander Walker, had thrown a firebrand into Southern society which had been followed by Nat Turner's insur- rection ; and now a literary lady, amid the culti- vated circles of Boston, dared also to " appeal." Only two years before (1831), Garrison had be- gun the " Liberator," and only two years later (1835), he was dragged through Boston streets, with a rope around his body, by " gentlemen of property and standing," as the newspapers said next day. It was just at the very most dan- \^Wi^ lILlVlX"l^XV/lX\.i.JLO gerous moment of the rising storm that Mrs. Child appealed. Miss Martineau in her article, " The Martyr Age in America," — pubhshed in the "London and Westminster Review" in 1839, ^^^^ ^^ o^^ce reprinted in America, — gives by far the most graphic picture yet drawn of that perilous time. She describes Mrs. Child as " a lady of whom society was exceedingly proud before she pub- lished her Appeal, and to whom society has been extremely contemptuous ever since." She adds : " Her works were bought with avidity before, but fell into sudden oblivion as soon as she had done a greater deed than writing any of them." It is evident that this result was not unex- pected, for the preface to the book explicitly recognizes the probable dissatisfaction of the public. She says : — " I am fully aware of the unpopularity of the task I have undertaken ; but though I expect ridicule and censure, I cannot fear them. A few years hence, the opinion of the world will be a matter in which I have not even the most transient interest ; but this book will be abroad on its mission of humanity long after the hand that wrote it is mingling with the dust. Should it be the means of advancing, even one single hour, the inevitable progress of truth and jus- LYDIA MARIA CHILD 12; tice, I would not exchange the consciousness for all Rothschild's wealth or Sir Walter's fame." These words have in them a genuine ring and the hook is really worthy of them. Ir looking over its pages, after the lapse of man) years, it seems incredible that it should have drawn upon her such hostility. The tone ii calm and strong, the treatment systematic, the points well put, the statements well guarded The successive chapters treat of the histor) of slavery, its comparative aspect in differeni ages and nations, its influence on politics, the profitableness of emancipation, the evils of the colonization scheme, the intellect of negroes, their morals, the feeling against them, and the duties of the community in their behalf. As it was the first anti-slavery work ever printed in America in book form, so I have always thought it the ablest; that is, it covered the whole ground better than any other. I knovs that, on reading it for the first time, nearly ten years after its first appearance, it had more formative influence on my mind in that direc- tion than any other, although of course the elo quence of public meetings was a more exciting stimulus. It never -surprised me to hear thai even Dr. Channing attributed a part of his own anti-slavery awakening to this admirable book. 124 CONTEMPORARIES He took pains to seek out its author immedi- ately on its appearance, and there is in her bio- graphy an interesting account of their meeting. His own work on slavery did not appear until 1835- Undaunted and perhaps stimulated by oppo- sition, Mrs. Child followed up her self-appointed task. During the next year she published the " Oasis," a sort of anti-slavery annual, the pre- cursor of Mrs. Chapman's " Liberty Bell," of later years. She also published, about this time, an " Anti-Slavery Catechism " and a small book called "Authentic Anecdotes of Ameri- can Slavery." These I have never seen, but find them advertised on the cover of a third pamphlet, which, with them, went to a second edition in 1839. "The Evils of Slavery and the Cure of Slavery ; the first proved by the opinions of Southerners themselves, the last shown by historical evidence." This is a com- pact and sensible little work. While thus seemingly absorbed in reforma- tory work, she still kept an outlet in the direc- tion of pure literature, and was employed for several years on " Philothea," which appeared in 1836. The scene of this novel was laid in ancient Greece. I well remember the admira- tion with which this romance was hailed ; and for me personally it was one of those delights LYDIA MARIA CHILD 125 of boyhood which the criticism of maturity can- not disturb. What mattered it if she brought Anaxagoras and Plato on the stage together, whereas in truth the one died about the year when the other was born ? What mattered it if in her book the classic themes were treated in a romantic spirit ? That is the fate of almost all such attempts, — compare, for instance, the choruses of Swinburne's "Atalanta," which might have been written on the banks of the Rhine, and very likely were. But childhood never wishes to discriminate, only to combine ; a period of life which likes to sugar its bread and butter prefers also to have its classic and romantic in one. "Philothea" was Mrs. Child's first attempt to return, with her anti-slavery cross still upon her, into the ranks of literature. Mrs. S. J. Hale, who, in her "Woman's Record," re- proves her sister writer for " wasting her soul's wealth" in radicalism, and "doing incalculable injury to humanity," seems to take a stem sat- isfaction in the fact that "the bitter feelings engendered by the strife have prevented the merits of this remarkable book from being ap- preciated as they deserve." This was perhaps true ; nevertheless it went through three edi- tions, and Mrs. ChUd, still keeping up the full circle of her labors, printed nothing but a rather 126 CONTEMPORARIES short-lived " Family Nurse " (in 1837) before entering the anti-slavery arena again. In 1 84 1 Mr. and Mrs. Child were engaged by the American Anti-Slavery Society to edit the "Anti-Slavery Standard,'' a weekly newspaper published in New York. Mr. Child's health being impaired, his wife undertook the task alone, and conducted the newspaper in that manner for two years, after which she aided her husband in the work, remaining there for eight years in all. She was very successful as an editor, her management being brave and efH- cient, while her cultivated taste made the " Standard " attractive to many who were not attracted by the plainer fare of the "Libera- tor." The good judgment shown in her poetical and literary selections was always ac- knowledged with especial gratitude by those who read the " Standard " at that time. During all this period she was a member of the family of the well-known Quaker philan- thropist, Isaac T. Hopper, whose biographer she afterwards became. This must have been the most important and satisfactory time in Mrs. Child's whole life. She was placed where her sympathetic nature found abundant outlet and plenty of cooperation. Dwelling in a home where disinterestedness and noble labor were as daily breath, she had great opportunities. LYDIA MARIA CHILD 127 There was no mere almsgiving there, no mere secretaryship of benevolent societies ; but sin and sorrow must be brought home to the fire- side and to the heart ; the fugitive slave, the drunkard, the outcast woman, must be the chosen guest of the abode, — must be taken and held and loved into reformation or hope. Since the stern tragedy of city life began, it has seen no more efficient organization for relief than when Isaac Hopper and Mrs. Child took up their abode beneath one roof in New York. For a time she did no regular work in the cause of permanent literature, — though she edited an anti-slavery almanac in 1843, — but she found an opening for her best eloquence in writing letters to the " Boston Courier," then under the charge of Joseph T. Buckingham. This was the series of " Letters from New York " that afterwards became famous. They were the precursors of that modern school of newspaper correspondence in which women have so large a share, and which has something of the charm of women's private letters, — a style of writing where description preponder- ates over argument and statistics make way for fancy and enthusiasm. Many have since fol- lowed in this path, and perhaps Mrs. Child's letters would not now be hailed as they then were. Others may have equaled her, but she 128 CONTEMPORARIES gave us a new sensation, and that epoch was perhaps the climax of her purely literary ca- reer. Their tone also did much to promote the tendency, which was showing itself in those days, towards a fresh inquiry into the founda- tions of social science. The Brook Farm ex- periment was at its height; and though she did not call herself an Associationist, yet she quoted Fourier and Swedenborg, and other authors who were thought to mean mischief; and her highest rhapsodies about poetry and music were apt to end in some fervent appeal for some increase of harmony in daily life. She seemed always to be talking radicalism in a greenhouse ; and there were many good people who held her all the more dangerous for her per- fumes. There were young men and maidens, also, who looked to her as a teacher, and were influenced for life, perhaps, by what she wrote. I knew, for instance, a young lawyer, just en- tering on the practice of his profession under the most flattering auspices, who withdrew from the courts forever — wisely or unwisely, — because Mrs. Child's book had taught him to hate their contests and their injustice. It was not long after this that James Russell Lowell, in his " Fable for Critics," gave him- self up to one impulse of pure poetry in de- LYDIA MARIA CHILD 129 scribing Mrs. Child. It is by so many degrees the most charming sketch ever made of her that the best part of it must be inserted here : — " There comes Philothea, her face all aglow, She has just been dividing some poor creature's woe, And can't tell which pleases her most, to relieve His want, or his story to hear and believe ; " The pole, science tells us, the magnet controls, But she is a magnet to emigrant Poles, And folks with a mission that nobody knows Throng thickly about her as bees round a rose ; She can fill up the carets in such, make their scope Converge to some focus of rational hope, And with sympathies fresh as the morning, their gall Can transmute into honey, — but this is not all ; Not only for these she has solace, oh, say. Vice's desperate nursling adrift in Broadway, Who clingest with all that is left of thee human To the last slender spar from the wreck of the woman. Hast thou not found one shore where those tired drooping feet Could reach firm mother earth, one full heart on whose beat The soothed head in silence reposing could hear The chimes of far childhood throb back on the ear ? Ah, there 's many a beam from the fountain of day That, to reach us unclouded, must pass on its way Through the soul of a woman, and hers is wide ope To the influence of Heaven as the blue eyes of Hope ; Yes, a great heart is hers, one that dares to go in To the prison, the slave-hut, the alleys of sin. And to bring into each, or to find there, some line Of the never completely out-trampled divine ; If her heart at high floods swamps her brain now and then, Tis but richer for that when the tide ebbs again. As after old Nile has subsided, his plain 130 CONTEMPORARIES Overflows with a second broad deluge of grain ; What a wealth would it bring to the narrow and sour, Could they be as a Child but for one little hour ! " The two series of "Letters from New York" appeared in 1843 and 1845, and went through seven or more editions. They were followed in 1846 by a collection of tales, mostly printed, entitled "Fact and Fiction." The book was dedicated to "Anna Loring, the Child of my Heart," and wds a series of power- ful and well-told narratives, some purely ideal, but mostly based upon the sins of great cities, especially those of man against woman. She might have sought more joyous themes, but none which at that time lay so near her heart. There was more sunshine in her next literary task, for, in 1852, she collected three small volumes of her stories from the " Juvenile Mis- cellany " and elsewhere, under the title of "Flowers for Children." In 1853 she published her next book, en- titled " Isaac T. Hopper ; a True Life." This gave another new sensation to the public, for her books never seemed to repeat each other, and belonged to almost as many different de- partments as there were volumes. The critics complained that this memoir was a little frag- mentary, a series of interesting stories without sufHcient method or unity of conceptioa Per- LYDIA MARIA CHILD 131 haps it would have been hard to make it other- wise. Certainly, as the book stands, it seems like the department of " Benevolence " in the " Percy Anecdotes," and serves as an encyclo- paedia of daring and noble charities. Her next book was the most arduous intel- lectual labor of her life, and, as often happens in such cases, the least profitable in the way of money. "The Progress of Religious Ideas through Successive Ages" was published in three large volumes in 1855. She had begun it long before in New York, with the aid of the Mercantile Library and the Commercial Li- brary, then the best in the city. It was finished in Wayland, with the aid of her brother's store of books, and with his and Theodore Parker's counsel as to her course of reading. It seems, from the preface, that more than eight years elapsed between the planning and the printing, and for six years it was her main pursuit. For this great labor she had absolutely no pecun- iary reward ; the book paid its expenses and nothing more. It is now out of print and not easy to obtain. This disappointment was no doubt due partly to the fact that the book set itself in decided opposition, unequivocal though gentle, to the prevailing religious impressions of the commu- nity. It may have been, also, that it was too 132 CONTEMPORARIES learned for a popular book and too popular for a learned one. Learning, indeed, she distinctly disavowed. " If readers complain of want of profoundness, they may perchance be willing to accept simplicity and clearness in exchange for depth." ..." Doubtless a learned person would have performed the task far better in many respects; but, on some accounts, my want of learning is an advantage. Thoughts do not range so freely when the storeroom of the brain is overloaded with furniture." And she gives at the end, with her usual frankness, a list of works consulted, all being in English except seven, which are in French. It was a bold thing to base a history of religious ideas on such books as Enfield's Philosophy and Taylor's Plato. The trouble was not so much that the learning was second-hand, — for such is most learning, — as that the authorities were second- rate. The stream could hardly go higher than its source ; and a book based on such very in- adequate researches could hardly be accepted, even when tried by that very accommodating standard, popular scholarship. In 1857 Mrs. Child published a volume en- titled " Autumnal Leaves ; Tales and Sketches in Prose and Rhyme." It might seem from this title that she regarded her career of action as drawing to a close. If so she was soon unde- LYDIA MARIA CHILD 133 ceived, and the attack of Captain John Brown upon Harper's Ferry aroused her, like many others, from a dream of peace. Immediately on the arrest of Captain Brown she wrote him a brief letter, asking permission to go and nurse him, as he was wounded and among ene- mies, and as his wife was supposed to be be- yond immediate reach. This letter she inclosed in one to Governor Wise. She then went home and packed her trunk, with her husband's full approval, but decided not to go until she heard from Captain Brown, not knowing what his pre- cise wishes might be. She had heard that he had expressed a wish to have the aid of some lawyer not identified with the anti-slavery move- ment, and she thought he was entitled to the same considerations of policy in regard to a nurse. Meantime Mrs. Brown was sent for and promptly arrived, while Captain Brown wrote Mrs. Child one of his plain and characteristic letters, declining her offer, and asking her kind aid for his family, which was faithfully given. But with this letter came one from Governor Wise, — courteous, but rather diplomatic, — and containing some reproof of her expressions of sympathy for the prisoner. To this she wrote an answer, well worded and quite effec- tive, which, to her great surprise, soon ap- peared in the New York "Tribune." She 134 CONTEMPORARIES wrote to the editor (November lo, 1859): "I was much surprised to see my correspondence with Governor Wise published in your columns. As I have never given any person a copy, I pre- sume you must have obtained it from Virginia." This correspondence soon led to another. Mrs. M. J. C. Mason wrote from " Alto, King George's County, Virginia," a formidable de- monstration, beginning thus : " Do you read your Bible, Mrs. Child .' If you do, read there, ' Woe unto you hypocrites,' and take to your- self, with twofold damnation, that terrible sen- tence ; for, rest assured, in the day of judgment, it shall be more tolerable for those thus scathed by the awful denunciations of the Son of God than for you." This startling commencement — of which it must be calmly asserted that it comes very near swearing, for a lady — leads to something like bathos at the end, where Mrs. Mason adds in conclusion, "No Southerner ought, after your letters to Governor Wise, to read a line of your composition, or to touch a magazine which bears your name in its list of contributors." To begin with double-dyed future torments, and come gradually to the climax of " Stop my paper," admits of no other explanation than that Mrs. Mason had dabbled in literature herself, and knew how to pierce the soul of a sister in the trade. LYDIA MARIA CHILD 135 Bat the great excitement of that i>eriod, and the general loss of tanper that prevailed, may plead a httle in vindication of Mis. Mason's vehemence and must certainly enhance the dignity of Mrs. Child's reply. It is one of the best things she ever wrote; She refuses to dwdl on the invectives of her assailant, and only " wishes her well, both in this woiid and the next" Nor will she even debate the spe- cific case (^ John !&own, whose Ixxfy was in charge of the comts and his reputation sure to be in charge of posterity. " Men, however great they may b^" she says, " are of small consequoice in comparison with piinc^les, and the principle for which John Brown died is the question at issue between us." She accordingl}' proceeds to discuss this ques- tion, first scripturally (following the lead of hex assailant), then on goieial princqriles ; and gives one ol her usual clear summaries of the whole argument. Now that the eadtements of the hour have passed, the sjorit of her ^diole state- ment must claim just praise. The series <^ letters was published in pamphl^ form in i860, and secured a wider circulation than an}-thing she ever wrot^ embracing some three hundred thousand cc^es. In return she received many private liters from the slave States, mostly anonymous, and often grossly insulting. 136 CONTEMPORARIES Having gained so good a hearing, she fol- lowed up her opportunity. During the same year she printed two small tracts, " The Patri- archal Institution " and " The Duty of Disobe- dience to the Fugitive Slave Law," and then one of her most elaborate compilations, enti- tled "The Right Way the Safe Way, proved by Emancipation in the British West Indies and Elsewhere." This shows the same syste- matic and thorough habit of mind with its pre- decessors ; and this business-like way of dealing with facts is hard to reconcile with the dreamy and almost uncontrolled idealism which she elsewhere shows. In action, too, she has usu- ally shown the same practical thoroughness, and in case of this very book forwarded copies at her own expense to fifteen hundred persons in the slave States. In 1864 she published " Looking towards Sunset," — a very agreeable collection of prose and verse, by various authors, all bearing upon the aspects of old age. This was another of those new directions of literary activity with which she so often surprised her friends. The next year brought still another in the " Free men's Book," — a collection of short tales a: sketches suited to the mental condition of t Southern freedmen, and published for their benefit. It was sold for that purpose at cost, LYDIA MARIA CHILD 137 and a good many copies were distributed through teachers and missionaries. Her last publication, and perhaps (if one might venture to guess) her favorite among the whole series, appeared in 1867, — "A Romance of the Republic." It was received with great cordiality, and is in some respects her best fic- titious work. The scenes are laid chiefly at the South, where she has given the local color- ing in a way really remarkable for one who never visited that region, while the results of slavery are painted with the thorough know- ledge of one who had devoted a lifetime to their study. The leading characters are of that type which has since become rather common in fic- tion, because American society affords none whose situation is so dramatic, — young quad- roons educated to a high grade of culture, and sold as slaves after all. All the scenes are handled in a broad spirit of humanity, and be- tray no trace of that subtle sentiment of caste which runs through and through some novels written ostensibly to oppose caste. The char- acterization is good, and the events interesting and vigorously handled. The defect of the book is a common one, — too large a frame- work, too many vertebra to the plot. Even the established climax of a wedding is a safer experiment than to prolong the history into 138 CONTEMPORARIES the second generation, as here. The first two thirds of the story would have been more effec- tive without the conclusion. But it will always possess value as one of the few really able de^ lineations of slavery in fiction, and the author may well look back with pride on this final offering upon that altar of liberty where so much of her life had been already laid. In later life Mrs. Child left not only the busy world of New York, but almost the world of society, and took up her abode (after a short residence at West Newton) in the house be- queathed to her by her father, at Wayland, Mass. In that quiet village she and her hus- band peacefully dwelt, avoiding even friend- ship's intrusion. Times of peace have no his- torian, and the later career of Mrs. Child had few of what the world calls events. Her do- mestic labors, her studies, her flowers, and her few guests kept her ever busy. She had never had children of her own, — though, as some one has said, she had a great many of other people's, — but more than one whom she had befriended came to dwell with her after her re- tirement, and she came forth sometimes to find new beneficiaries. But for many of her kind- nesses she did not need to leave home, since they were given in the form least to be ex- pected from a literary woman, — that of pecun- LYDIA MARIA CHILD 139 iary bounty. Few households in the country contributed on a scale so very liberal, in pro- portion to their means. One published letter, however, may serve as a sample of many. It was addressed to an Anti-Slavery Festival at Boston, and not only shows the mode of action adopted by Mr. and Mrs. Child, but their latest opinions as to pub- lic affairs : — Wayland, January i, 1868. Dear Friend Phillips, — We inclose fifty dollars as our subscription to the Anti-Slavery Society. If our means equaled our wishes, we would send a sum as large as the legacy Fran- cis Jackson intended for that purpose, and of which the society was deprived, as we think, by an unjust legal decision. If our sensible and ju- dicious friend could speak to us from the other side of Jordan, we doubt not he would say that the vigilance of the Anti-Slavery Society was never more needed than at the present crisis, and that, consequently, he was never more dis- posed to aid it liberally. . . . The British Anti-Slavery Society deserted their post too soon. If they had been as watch- ful to protect the freed people of the West Indies as they were zealous to emancipate them, that horrid catastrophe in Jamaica might have 140 CONTEMPORARIES been avoided. The state of things in those islands warns us how dangerous it is to trust those who have been slaveholders, and those who habitually sympathize with slaveholders, to frame laws and regulations for liberated slaves. As well might wolves be trusted to guard a sheepfold. We thank God, friend Phillips, that you are preserved and strengthened to be a wakeful sentinel on the watch-tower, ever to warn a drowsy nation against selfish, timid politicians, and dawdling legislators, who manifest no trust either in God or the people. Yours faithfully, David L. Child, L. Maria Child. Mrs. Child outlived her husband six years, and died at Wayland, October 20, 1880. She was one of those prominent instances in our literature of persons born for the pursuits of pure intellect, whose intellects were yet bal- anced by their hearts, both being absorbed in the great moral agitations of the age. "My natural inclinations," she once wrote to me, "drew me much more strongly towards litera- ture and the arts than towards reform, and the weight of conscience was needed to turn the scale." In a community of artists, she would LYDIA MARIA CHILD 141 have belonged to that class, for she had that instinct in her soul. But she was placed where there was as yet no exacting literary standard ; she wrote better than most of her contempora- ries, and well enough for her public. She did not, therefore, win that intellectual immortal- ity which only the very best writers command, and which few Americans have attained. But she won a meed which she would value more highly, — that warmth of sympathy, that min- gled gratitude of intellect and heart which men give to those who have faithfully served their day and generation. HELEN JACKSON ("H. H.") It is curious to see how promptly time be- gins to apply to the memory of remarkable persons, as to their tombstones, an effacing process that soon makes all inscriptions look alike. Already we see the beginnings of this tendency in regard to the late Mrs. Helen Jack- son. The most brilliant, impetuous, and thor- oughly individual woman of her time, — one whose very temperament seemed mingled of sunshine and fire, — she is already being por- trayed simply as a conventional Sunday-school saint. It is undoubtedly true that she wrote her first poetry as a bereaved mother and her last prose as a zealous philanthropist. Her life comprised both these phases, and she thor- oughly accepted them ; but it included so much more, — it belonged to a personality so unique and in many respects so fascinating, — that those who knew her best can by no means spare her for a commonplace canonization which takes the zest out of her memory. To analyze her would be impossible except to the trained HELEN JACKSON 143 skill of some French novdist ; and she would have been a sealed book to him. because no Frenchman could compr^end the carious thread Pursh, Frederick, 205. Putnam, Israel, 327. Quincy, Edmund, 262, 271, 272, 375, Quincy, Josiah, 256, 257, 260. Quincy, Josiah, Jr., 3. Quinet, Edgar, 15. Randolph, John, 290. Raphael, 5. Reay, Lord, 336. Redpath, James, 263. Remond, Charles, 232. Richardson, Samuel, 68, 99. Ripley, George, 110. Ripley, Mrs., 2. Rivarol, Count de, 203. Robbins, Chandler, 7. Robespierre, F. J. M. L, 342. Rogers, N. P., 333. Roland, Madame, 120. Romilly^ Sir Samuel, 272. Rose, Sir John, 363. Rosebery, Lord, 360. Rossetti, D. G., 80. Ruskin, John, 77. Russell, Earl, 351. Russell, Lady, 120. Say, Thomas, 204, 205, 207, 209, 210, 211, 217. Schelling, F. W. J., von, 18. Schleiermacher, F. E. D., 79. Schofield, J. McA., 316. Scott, Sir Walter, 123. Scudder, S. H., 213. Seward, W. H., 286, 302. Shakespeare, William, 94, 99, iii. Shaw, H. W. (Josh Billings), 74. Shaw, R. G., 256. Shelley, P. B., 21, 85, 98, 227. Sheridan, P. H., 317, 318, 320, 321, Sherman, W. T., 310, 312, 316. Sidney, Sir Philip, 21. Sims, Thomas, 26S, 283, 297. Smellie, William, 199. Smith, " Bobus," 303. Smith, Gerrit, 224. Smith, Sydney, 5, 303. Snow, P. & S., 183. Socrates, 16. Sparks, Jared, 193. Spence, William, 206. Spencer, Herbert, 18. Spenser, Edmund, 345. INDEX 379 Spinoza, Benedict, 79. Spooner, Lysander, 264. Stanley, Lord (of Alderley), 351. Stanton, £. M., 302. Stearns, G. L., 299. Stebbins, Horatio, 162. Stedman, E. C, 76, 84, Stedman, Sam, 188. Stevens, A. D., 233. StoU, 202. Stone, Lucy, 158, 336. Scorer, D. H., 204. Storey, C. W., 184. Storey, Moorfield, 184. Story, Joseph, 291. Sumner, Charles, 280-7293 ; also 45, 256, 267, 273, 29s, 303, 357. Swan, Miss, 113. Swedenborg, Emanuel, 57, 128. Swinburne, A. C, 95, 125. Tacitus, 17. Taney, R. B., 224. Tappan, Arthur, 249. Tappan, Lewis, 249,250. Taylor, Bayard, 76, go, Taylor, Percy, 342-344- Taylor, Zachary, 306, 307. Tennyson, Alfred, ig. Thackeray, W. M., 49. Thayer, David, 263, Thayer, J. B., 172. Thompson, Henry, 228. Thompson, Ruth (Brown), 228. Thompsons, the, 225, 228. Thoreau, H. D., 31, 64, 85, 94, 100, 301. Thucydides, 4. Ticknor, George, 116, 271, 272, 357, Toby, Uncle, 310. Tocqueville, A. C. H. C. de, 268. Towne, J. H., 250. Trowbridge, Edmund, 189. Tuckerman, Edward, 192. Tupper, M. F., 77. Turner, Nat, 121. Tyndall, John, 15, 357. Tyrtaeus, 65. Van Dyck, Sir Anthony, 86. Vergniaud, P. V., 342. Victoria, Queen, 367-372. Visit to John Brown's Household in 1859, 210-243. Voet, P. E., 208. Walker, Alexander, 121. Walpole, Horace, 4. Ward, C.J an. Ward, W. H., 86, go, gi, 92, 100. Ware, Charles, 176. Ware, Henry. Jr., 6, 21. Warren, G. X., 146, 317-322. Washington, George, 97, 193, 252. Webster, Mrs. Augusta, 372. Webster, Daniel, 43, 57, 247, 256, 267, 268. Weiss, John, 288. Wellington, Arthur Wellesley, Duke of, 233, 305, 325. Wesley, John, 252, Westennann, 210. Westwood, J. O., 202. Wheelock, Eleazar, 188. Whipple. E.,P., J06. Whitefield, George, 115. Whitman, Walt, 72-S4; also 97, g8. Whittier, J. G., 60-71 ; also 76, 248. . Wilberforce, William, 279, 302. Wilson, Henry, 256, 302. Wines, E. C, 360. Winthrop, James, i8g. Winthrop, R. C, 272, 2g6. Wise, H. A., 133, 134. Woodbury, J. T., 250. Woodrow, James, 87. Woodward, Rufus, 213. Woolsey, Sarah C, 153. Wordsworth, William, 8, 19, 39. Wright, Elizur, 250. Wright, Frances, 121. Wright, H. C, 332, 336. Wright, H. G., 27. Xenophon, 4. 1 J»»™i!li!il|l!H!lffl