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[47] under which he long had struggled. For the rest, the ballads, lyrics, and occasional pieces which made him most famous are scattered somewhat indiscriminately through the score or more of his volumes. For upwards of half a century verse flowed profusely from his pen, and his career did not fall into the distinctive periods that it is the task and the delight of the critic to define and to characterize in the work of many other poets.

From 1840 onward Whittier made Amesbury his home, although he allowed himself many protracted visits to friends and relatives, to Danvers and Newburyport, to the waters and mountains of New Hampshire, to Maine and the Isles of Shoals. From 1847 to 1860 he was associated, at long distance, with The national era, a weekly paper published at Washington, and best remembered as the periodical in which Uncle Tom's cabin was first given to the world. This paper was the chief medium for his expression until the establishment of The Atlantic monthly in 1857, in whose pages a large part of his later work appeared. His seventieth birthday, in 1877, was made the occasion of a celebration more elaborate than had before been the reward of any American poet. He attended the Boston dinner then given in his honour, feeling

Like him who in the old Arabian joke
A beggar slept and crowned Caliph woke.

His eightieth birthday was also celebrated, bringing to him a striking memorial signed by all the members of the Supreme Court bench, nearly all the members of both houses of Congress, and many private citizens of the highest distinction, making it clear that the nation held him in love and veneration as one of its greatest spiritual assets. He was visiting at the house of a friend, a few miles from Amesbury just over the New Hampshire border, when a cerebral hemorrhage brought him to a peaceful death, 7 September, 1892. ‘Love to all the world,’ were the words that played upon his lips just before the end.

In the classification of Whittier's work, the narrative poems are the first to call for consideration. ‘Of all our poets he is the most natural balladist,’ says E. C. Stedman, and throughout his entire life he was always ready to turn from the strenuous exactions of the causes which claimed his most ardent

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