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 As still in Hemskerck's Quaker Meeting,1 face
By face in Flemish detail, we may trace
How loose-mouthed boor and fine ancestral grace
Sat in close contrast,—the clipt-headed churl,
Broad market-dame, and simple serving-girl
By skirt of silk and periwig in curl!
For soul touched soul; the spiritual treasuretrove
Made all men equal, none could rise above
Nor sink below that level of God's love.
So, with his rustic neighbors sitting down,
The homespun frock beside the scholar's gown,
Pastorius to the manners of the town
Added the freedom of the woods, and sought
The bookless wisdom by experience taught,
And learned to love his new-found home, while not
Forgetful of the old; the seasons went
Their rounds, and somewhat to his spirit lent
Of their own calm and measureless content.
Glad even to tears, he heard the robin sing
His song of welcome to the Western spring,
And bluebird borrowing from the sky his wing.
And when the miracle of autumn came,
And all the woods with many-colored flame
Of splendor, making summer's greenness tame,
1 ‘The Quaker's Meeting,’ a painting by E. Hemskerck (supposed to be Egbert Hemskerck the younger, son of Egbert Hemskerck the old), in which William Penn and others—among them Charles II., or the Duke of York—are represented along with the rudest and most stolid class of the British rural population at that period. Hemskerck came to London from Holland with King William in 1689. He delighted in wild, grotesque subjects, such as the nocturnal intercourse of witches and the temptation of St. Anthony. Whatever was strange and uncommon attracted his free pencil. Judging from the portrait of Penn, he must have drawn his faces, figures, and costumes from life, although there may be something of caricature in the convulsed attitudes of two or three of the figures.
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