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to Snow- Bound and The Tent on the Beach.
The latter and less important of these two works is a cycle of narratives in verse, linked together in the fashion of Longfellow's Tales of a Wayside inn.
The company are three in number, Fields the lettered magnate and Taylor the free cosmopolite being foregathered on Salisbury Beach wioint 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 himseural music of [his] song. Fifty years ago, the verdict of thoughtful Americans acclaimed Whittier as the foremost American poet, with the possible exception of Longfellow, and while now there would be more dissentients from that judgment than there were then, his fame still rests upon a very solid basis of acceptance and esteem.
rom this second voyage he wrote out a pleasantly personal narrative of Our hundred days in Europe .At intervals, for nearly sixty years, he had sent forth volumes of verse; the latest to appear (in 1888) was aptly entitled Before the Curfew,—as Longfellow had called his final volume In the Harbor and Whittier had felicitously styled his last book At Sundown.
On 7 October, 1894, Holmes died at the ripe age of eighty-five, unusual even among the long-lived American poets of his generation, of whis possible also to select specimens of this special type from the major poets, the sport of their frolicsome moods, and no adequate anthology would fail to include Bryant's Robert of Lincoln, Emerson's Humble-Bee, Whittier's In School days and Longfellow's Catawba wine.
From Lowell the examples would be half a dozen at least, with Auf Wiedersehen and Without and within as the first flowers to be picked.
Indeed, Lowell is Holmes's only chief rival among American poets in the limited field of