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A. W. Thayer (search for this): chapter 3
1857, though saying of it in his preface that it was in a great measure composed in early life; and it is scarcely necessary to say that its subject is not such as the writer would have chosen at any subsequent period. An attempt was made by Mr. Thayer to get a volume containing The poems of Adrian published by subscription in 1828, but this failed of success, perhaps fortunately. The best description of Whittier's personal bearing at that time is given by one who was then a friend and assion, partly paying his expenses by posting the ledgers of a business man in Haverhill. Through Garrison he was offered the editorship of a weekly temperance paper called The Philanthropist, in Boston, and wrote the following letter to his friend Thayer, asking his advice as to acceptance. It shows, better than anything else, his condition of mind at the period. Shad Parish, 28th of 11th mo., 1828. Friend A. W. Thayer,--I have been in a quandary ever since I left thee, whether I had better
Hanmer (search for this): chapter 3
rst time with a person whose name I had learned to revere, without feeling on the instant that the beautiful veil with which my imagination had robed him was partially rent away. If you cannot explain this matter, you are no philosopher. Whittier had at Hartford more of social life than ever before, and made the acquaintance of Mrs. Sigourney, then famous; also of F. A. P. Barnard, afterward president of Columbia College. Whittier's first thin volume, Legend of New England (Hartford, Hanmer and Phelps, 1831), was published with some difficulty at the age of twenty-four; and was suppressed in later life by the author himself, he buying it up, sometimes at the price of five dollars a copy, in order that he might burn it. It gave little promise, either in its prose or verse, and showed, like the early works of Hawthorne, the influence of Irving. The only things preserved from it, even in the appendix to his collected poems, are two entitled Metacom and Mount Agioochook Works, I
Aubrey Vere (search for this): chapter 3
ians, who are terrified by rumbling noises that proceed from a carbonate concealed in the rocks; this suggesting the Great Carbuncle of Hawthorne. All these themes, it will be noticed, are American and local, and hence desirable as selections; but the talent of the author was not precociously mature, like that of Hawthorne, nor did he continue in the same direction. Yet so far as the selection of the themes went, his work was a contribution to the rising school of native literature. Aubrey de Vere once wrote to Tennyson that Sara Coleridge, daughter of the poet, had said to him that However inferior the bulk of a young man's poetry may be to that of the poet when mature, it generally possesses some passages with a special freshness of their own, and an inexplicable charm to be found in them alone. It is just this quality which seems wanting in the earliest poems of Whittier. As we may observe in his youthful action a certain element of ordinary self-seeking and merely personal a
William Penn (search for this): chapter 3
would do credit to riper years, is a youth of only sixteen years, who we think bids fair to prove another Bernard Barton, of whose persuasion he is. His poetry bears the stamp of true poetic genius, which, if carefully cultivated, will rank him among the bards of his country. Other poems — or versified contributions — bore such a wide range of titles as The Vale of the Merrimack, The death of Alexander, The voice of time, The Burial of the Princess Charlotte of Wales, To the Memory of William Penn, The Shipwreck, Paulowna Memory, and the like; but it is impossible now to find in these the traces of genius which Garrison saw, or thought he saw; nor has their author preserved any of the above, except the first two, even in the appendix to his Riverside edition. Later, when Garrison edited The Journal of the Times at Bennington, Vt., he printed in it four poems by Whittier, and wrote of him, Our friend Whittier seems determined to elicit our best panegyrics, and not ours only, but
Bernard Barton (search for this): chapter 3
and sympathised with me. He sent also another poem, entitled The Deity, an amplification of the eleventh and twelfth verses of the nineteenth chapter of First Kings. This was also written in 1825, and was published in the Free Press of June 22, 1826. See Whittier's Works, IV. 334. Mr. Garrison introduced it as follows:-- The author of the following graphic sketch, which would do credit to riper years, is a youth of only sixteen years, who we think bids fair to prove another Bernard Barton, of whose persuasion he is. His poetry bears the stamp of true poetic genius, which, if carefully cultivated, will rank him among the bards of his country. Other poems — or versified contributions — bore such a wide range of titles as The Vale of the Merrimack, The death of Alexander, The voice of time, The Burial of the Princess Charlotte of Wales, To the Memory of William Penn, The Shipwreck, Paulowna Memory, and the like; but it is impossible now to find in these the traces of gen
W. Irving (search for this): chapter 3
mous; also of F. A. P. Barnard, afterward president of Columbia College. Whittier's first thin volume, Legend of New England (Hartford, Hanmer and Phelps, 1831), was published with some difficulty at the age of twenty-four; and was suppressed in later life by the author himself, he buying it up, sometimes at the price of five dollars a copy, in order that he might burn it. It gave little promise, either in its prose or verse, and showed, like the early works of Hawthorne, the influence of Irving. The only things preserved from it, even in the appendix to his collected poems, are two entitled Metacom and Mount Agioochook Works, IV. 343-8.; and he has wisely preserved nothing of the very rhetorical and melodramatic prose writing. Yet he showed in these the desire for home themes and the power to discover them. In The Rattlesnake hunter the theme is an old man who devotes his life, among the mountains of Vermont, to the extirpation of rattlesnakes, one of which has killed his wife
William Lyon Phelps (search for this): chapter 3
th a person whose name I had learned to revere, without feeling on the instant that the beautiful veil with which my imagination had robed him was partially rent away. If you cannot explain this matter, you are no philosopher. Whittier had at Hartford more of social life than ever before, and made the acquaintance of Mrs. Sigourney, then famous; also of F. A. P. Barnard, afterward president of Columbia College. Whittier's first thin volume, Legend of New England (Hartford, Hanmer and Phelps, 1831), was published with some difficulty at the age of twenty-four; and was suppressed in later life by the author himself, he buying it up, sometimes at the price of five dollars a copy, in order that he might burn it. It gave little promise, either in its prose or verse, and showed, like the early works of Hawthorne, the influence of Irving. The only things preserved from it, even in the appendix to his collected poems, are two entitled Metacom and Mount Agioochook Works, IV. 343-8.;
Byron (search for this): chapter 3
Bridge [the most sparsely settled portion of the East Parish]. Seriously-the situation of editor of the Philanthropist is not only respectable, but it is peculiarly pleasant to one who takes so deep an interest, as I really do, in the great cause it is labouring to promote. I would enter upon my task with a heart free from misanthropy, and glowing with that feeling that wishes well to all. I would rather have the memory of a Howard, a Wilberforce, and a Clarkson than the undying fame of Byron. ... I should like to see or hear from Mr. Carlton [the principal of the academy] before I do anything. He is one of the best men — to use a phrase of my craft — that ever trod shoe-leather. Pickard, I. 70. After leaving the academy, Whittier plunged with unexpected suddenness into journalism, which took with him the form of a nursery for ardent political zeal. In Boston he was put in, as has been supposed, through Garrison's influence, as editor of the American Manufacturer. He
Thomas Otway (search for this): chapter 3
d not wish to inspire him with hopes which might never be fulfilled. ... We endeavoured to speak cheeringly of the prospect of their son; we dwelt upon the impolicy of warring against Nature, of striving to quench the first kindlings of a flame which might burn like a star in our literary horizon-and we spoke too of fame-- Sir, replied his father, with an emotion which went home to our bosom like an electric shock, poetry will not give him bread. What could we say? The fate of Chatterton, Otway, and the whole catalogue of those who had perished by neglect, rushed upon our memory, and we were silent. Garrison's life, I. 67, 68. The family tradition is simply that the number of the newspaper containing his contribution was thrown out, one day, by the carrier to the youthful Whittier, as he was working with his uncle on a stone wall by the roadside; and he read it with natural delight. Some days later a young man of fine appearance and bearing drove out to see him, accompanied by
Indians (search for this): chapter 3
on the tradition of an old man in a New Hampshire village who died suddenly near his home, and whose cries were heard at night from the grave; the author claiming to have known people who had actually heard them. The spectre ship is from a tradition in Mather's Magnalia. The Midnight attack is a narrative of adventure with the Indians on the Kennebec River in 1722, on the part of Captain Harmon and thirty forest rangers. The human sacrifice records the escape of a young white girl from Indians, who are terrified by rumbling noises that proceed from a carbonate concealed in the rocks; this suggesting the Great Carbuncle of Hawthorne. All these themes, it will be noticed, are American and local, and hence desirable as selections; but the talent of the author was not precociously mature, like that of Hawthorne, nor did he continue in the same direction. Yet so far as the selection of the themes went, his work was a contribution to the rising school of native literature. Aubrey
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