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[p. 80] allowed to remain as memorials of fires that raged once, but have long since gone out.’

In 1816 he published at Baltimore his longest poem, ‘The Airs of Palestine.’ ‘It is a meditation upon the influence of music as applied to Jewish history, and, to a limited extent, to noted occurrences of all times.’ It is the opinion of competent critics that the poem shows the domination of Pope upon the literature of this period which is manifest throughout the finished versification of the whole poem. The critics may have their way, but the poem in its beauty of conception, its melody and force of description found a warm response, passed through several editions, and is worthy of its fame. It paints pictures with a few touches that seem like a happy inspiration, but which had cost hours of meditation and effort before the ability to make them had been won. Much of this poem was written in Baltimore while struggling against the fate of commercial disaster which finally overwhelmed him. Two fine lines descriptive of the apostles in the garden of Gethsemene with their Master run:—

Their reverend beards that swept their bosoms wet
With the chill dews of shady Olivet.

Mr. Neal, who was a member of his household, says: ‘We were at breakfast—it was rather late. “ Where on earth is your good husband?” said I to Mrs. Pierpont. “In bed making poetry,” said she. “Indeed!” “Yes, flat on his back with his eyes rolled up in his head.” Soon after he appeared looking somewhat worse for his labor. “Here,” said he, “tell me what you think of these two lines,” handing me a paper on which they were written with the beauty and clearness of copper plate. “Charming,” said I. “And what then? What are you driving at?” “Well, I was thinking of Olivet, and then I wanted a rhyme for Olivet, and these express the picture of the apostles before me, their reverend beards all dripping with the dews of night.” ’

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