s are sung today in all the churches.
When The Atlantic monthly was established in 1857, Whittier was fifty.
He took his place among the contributors to the new magazine not as a controversialist but as a man of letters, with such poems as Tritemius, and Skipper Ireson's Ride.
Characteristic productions of this period are My Psalm, Cobbler Keezar's vision, Andrew Rykman's Prayer, the Eternal Goodness — poems grave, sweet, and tender.
But it was not until the publication of Snow-bound in 1866 that hitter's work touched its widest popularity.
He had never married, and the deaths of his mother and sister Elizabeth set him brooding, in the desolate Amesbury house, over memories of his birthplace, six miles away in East Haverhill.
The homestead had gone out of the hands of the Whittiers, and the poet, nearing sixty, set himself to compose an idyll descriptive of the vanished past.
No artist could have a theme more perfectly adapted to his mood and to his powers.
There are no nove