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 in the presence of the lines which describe the fireplace on that winter evening. This poem has often been compared with The Cotter's Saturday night and it means to the American all and more than Burns's famous poem means to the Scotsman. There is also much aptitude in a comparison with Crabbe, but it has qualities of wistful sentiment and tender reminiscence that are not to be found in the poet of The village and The Borough. Akin to Snow-Bound, and to be mentioned as offering a foretaste of its subtle charm, is the short poem The Barefoot boy, dated some ten years earlier, and cast in the same mould of retrospective yearning for the happy and wholesome days of childhood. The most considerable section of Whittier's verse in point of volume is that in which the poet voices the burning indignation fanned in his breast by the curse of negro slavery in America. His fellow-poets—Holmes, Longfellow, Lowell, and Emerson—were all enlisted in the warfare against this monstrous evil, and did yeoman service in the cause of freedom, but Whittier alone gave himself heart and soul to the crusade, from early manhood until the cause was won, from the time of his first association with Garrison to the time when his jubilant Laus Deo acclaimed the writing into the fundamental law of the republic of the ban upon slavery throughout the extent of its domain. Every step in the history of the conflict, which is the history of the United States for the period of a full generation, was seized upon by Whittier as a pretext for poetical expression—the terrorizing of the pioneer abolitionists, the war which the annexation of Texas made inevitable, the efforts of Clay and Webster to heal the wounds of dissension by compromise, the outrage of the Fugitive Slave Law, the struggle for freedom in the Territory of Kansas, the growth of the modem Republican party, and the holocaust of the Civil War. The majority of the poems occasioned by these themes are too entirely of and for the moment to have any lasting value, but their immediate effect was potent in strengthening the mighty moral resolve of the nation, and they made Whittier perhaps the best beloved of contemporary American poets. When this mass of work is sifted by criticism, only a few pieces seem to preserve much of the fire which made them so effective
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