Whittier-land Part 4

"While dark, through willowy vistas seen, The river rolled in shade between."

To a friend in Brooklyn who inquired in regard to the origin of this poem, Mr. Whittier wrote: "The little poem referred to was suggested by an evening on the Merrimac River, in company with my dear sister, who is no longer with me, having crossed the river (as I fervently hope) to the glorified hills of G.o.d."

"The Last Walk in Autumn" is another poem inspired by the scenery of this locality. At the lower end of this valley, near the mouth of the Powow, on the edge of the bluff overlooking the Merrimac, Goody Martin lived more than two hundred years ago, and the cellar of her house was still to be seen when, in 1857, Whittier first told the story of "The Witch's Daughter," the poem now known as "Mabel Martin." She was the only woman who suffered death on a charge of witchcraft on the north side of the Merrimac. One other aged woman in this village was imprisoned, and would have been put to death, but for the timely collapse of the persecution. She was the wife of Judge Bradbury, and lived on the Salisbury side of the Powow. In his ballad Whittier traces the path he used to take towards the Goody Martin place, as was his custom in many of his ballads. One who desires to take this path can enter upon it at the Union Cemetery, where the poet is buried. Follow the "level tableland" he describes towards the Merrimac, looking down at the left into the deep and picturesque valley of the Powow,--a charming view of its placid, winding course after it has made its plunge of eighty feet over a shoulder of Po Hill,--until you

... "see the dull plain fall Sheer off, steep-slanted, ploughed by all The seasons' rainfalls,"

and you look down upon the broad Merrimac seeking "the wave-sung welcome of the sea." Find a path winding down the bluff facing the river, half-way down to the hat factory which is close to the water, and you are upon the location of Goody Martin's cottage. But no trace is now to be seen of "the cellar, vine overrun" which the poet describes.

[Ill.u.s.tration: CURSON'S MILL, ARTICHOKE RIVER]

I visited the spot with the poet on the October day before referred to, and noted the felicity of his descriptions of the locality. It is near the river, but high above it, and one looks _down_ upon the tops of the willows on the bank:--

"And through the willow-boughs _below_ She saw the rippled waters s.h.i.+ne."

Opposite Pleasant Valley, on the Newbury side of the river, are "The Laurels," "Curson's Mill," and the mouth of the Artichoke, celebrated in several poems. In June, when the laurels are in bloom, this sh.o.r.e is well worth visiting for its natural beauties, as well as for the a.s.sociation of Whittier's frequent allusion to it in prose as well as verse. It was for the "Laurel Party," an annual excursion of his friends to this sh.o.r.e, that he wrote the poems, "Our River,"

"Revisited," and "The Laurels." In "June on the Merrimac" he sings:--

"And here are pictured Artichoke, And Curson's bowery mill; And Pleasant Valley smiles between The river and the hill."

In the stanza preceding this he takes a view down the Merrimac, past Moulton's Hill in Newbury,--an eminence commanding one of the finest views on the river, formerly crowned with a castle-like structure occupied for several years as the summer residence of Sir Edward Thornton,--to the great bend the river makes in pa.s.sing its last rocky barrier at Deer Island. The Hawkswood oaks are a magnificent feature of the scene. This estate, on the Amesbury side of the river, was formerly occupied by Rev. J. C. Fletcher, of Brazilian fame.

"The Hawkswood oaks, the storm-torn plumes Of old pine-forest kings, Beneath whose century-woven shade Deer Island's mistress sings."

[Ill.u.s.tration: DEER ISLAND AND CHAIN BRIDGE]

The Merrimac, beautiful as are its banks along its entire course, nowhere presents more picturesque scenery than where it pa.s.ses through the deep valley it has worn for itself between the hills of Amesbury and Newbury, and especially where its tidal current is parted by the perpendicular cliffs of Deer Island. At this point the quaint old chain bridge, built about a century ago, spans the stream. This island is the home of Harriet Prescott Spofford, who is referred to in the stanza just quoted. About forty years ago, it was proposed to build a summer hotel on this island, which is four or five miles from the mouth of the Merrimac. I have found among Mr. Whittier's papers an unfinished poem, protesting against what he considered a desecration of this spot which always had a great charm for him. It is likely that the reason why this poem was never finished or published was because the project of building a hotel was abandoned. I have taken the liberty to give as a t.i.tle for it "The Plaint of the Merrimac." As it was written in almost undecipherable hieroglyphics, some of the words are conjectural:--

"I heard, methought, a murmur faint, Our River making its complaint; Complaining in its liquid way, Thus it said, or seemed to say:

"'What 's all this pother on my banks-- Squinting eyes and pacing shanks-- Peeping, running, left and right, With compa.s.s and theodolite?

"'Would they spoil this sacred place?

Blotch with paint its virgin face?

Do they--is it possible-- Do they dream of a hotel?

"'Match against my moonlight keen Their tallow dip and kerosene?

Match their low walls, plaster-spread, With my blue dome overhead?

"'Bring their hotel din and smell Where my sweet winds blow so well, And my birches dance and swing, While my pines above them sing?

"'This puny mischief has its day, But Nature's patient tasks alway Begin where Art and Fas.h.i.+on stopped, O'ergrow, and conquer, and adopt.

"'Still far as now my tide shall flow, While age on age shall come and go, Nor lack, through all the coming days, The grateful song of human praise.'"

Before the chain bridge was built, a ferry was maintained at the mouth of the Powow, and here Was.h.i.+ngton crossed the river at his last visit to New England. It is said that a French s.h.i.+p lay at the wharf near the ferry, and displayed the French flag over the American because of the French feeling against the policy of Was.h.i.+ngton's administration.

Was.h.i.+ngton refused to land until the obnoxious flag was lowered to its proper place.

It was a one-story cottage on Friend Street, Amesbury, to which the Whittiers came in July, 1836--a cottage with but four rooms on the ground floor, and a chamber in the attic. The sum paid for this cottage, with about an acre of land, was twelve hundred dollars. The Haverhill farm was sold for three thousand dollars. Accustomed to the comparatively large ancestral home at Haverhill, it is no wonder that there was at first a feeling of homesickness, as is evidenced in the diary kept by Elizabeth. This feeling was naturally intensified by the prolonged absences of her brother, who from 1836 to 1840 was away from home most of the time, engaged with his duties as secretary of the anti-slavery society in New York, and as editor of the "Pennsylvania Freeman" in Philadelphia. During these years, the only occupants of the cottage were Whittier's mother, his sister Elizabeth, and his aunt Mercy, except when his frequent illnesses, and his interest in the political events of the North Ess.e.x congressional district, called him home. But in 1840, his residence in Amesbury became permanent. At about this time he made the tour of the country with the English philanthropist, Joseph Sturge, who noticed his straitened circ.u.mstances, and out of the largeness of his heart, in a most delicate way, not only gave him financial a.s.sistance at the time, but seven years later enabled him to build a two-story ell to the cottage, and add a story to the eastern half of the original structure. A small ell of one story, occupying part of the s.p.a.ce of the present "garden room," was built by Mr. Whittier when he bought the cottage in 1836, and this was aunt Mercy's room. At the later enlargement of the house this small room was lengthened, and a chamber built over it. In the lower floor of this enlarged ell is the room which has ever since been known as the "garden room," because it was built into the garden, and a much prized fruit tree was sacrificed to give it place. The chamber over this room was occupied by Elizabeth until her death in 1864, and after that by Mr. Whittier.

[Ill.u.s.tration: THE WHITTIER HOME, AMESBURY]

While repairs were making in this part of the house in the summer of 1903, a package of old letters was found in the wall, bearing the date of 1847, the year when the enlargement was made. One of them reveals the source of the money required for the improvement. It was from Lewis Tappan of New York, the financial backbone of the anti-slavery society, inclosing a check for arrears of salary due Whittier for editorial work. Mr. Tappan writes: "I will ask the executive committee to raise the compensation. I wish we could pay you according to the real value of your productions, rather than according to their length.... Inclosed is a check for one hundred dollars. Mr. Sturge authorizes me to draw on him for one thousand dollars at any time when you and I should think it could be judiciously invested in real estate for your family. I can procure the money in a week by drawing on him. When you have made up your mind as to the investment, please let me know."

At this time the poet was feeling the pinch of real poverty and was living in a little one-story cottage that gave him no room for a study, and no suitable chamber for a guest. It was at this time that he received the letter which contained not only a check for overdue salary, but a promise of a gift of one thousand dollars from his generous English friend, Joseph Sturge. The result of this beneficence was the building of the "garden room," to which thousands of visitors come from all parts of this and other countries, because in it were written "Snow-Bound," "The Eternal Goodness," and most of the poems of Whittier's middle life and old age. Mr. Sturge had sent Whittier six years earlier a draft for one thousand dollars, intending it should be used by him in traveling for his health. But Whittier had given most of this toward the support of an anti-slavery paper in New York. Two years later the same generous friend offered to pay all his expenses if he would come to England as his guest, an offer he was obliged to decline.

A portrait of Sturge is appropriately placed in this room. Tappan's letter was written April 21, 1847, and the addition to the cottage was built in the summer of that year. The whole expense of the improvement was no doubt covered by Sturge's gift. Other interesting letters of the same period were included in the package in the wall.

[Ill.u.s.tration: JOSEPH STURGE, THE ENGLISH PHILANTHROPIST

"The very gentlest of all human natures He joined to courage strong."

IN REMEMBRANCE OF JOSEPH STURGE]

In a drawer of the desk is a most remarkable alb.u.m of autographs of public men, presented to Mr. Whittier on his eightieth birthday, by the Ess.e.x Club. It is a tribute to the poet signed by every member of the United States Senate and House of Representatives, the Supreme Court of the United States, the Governor, ex-Governors, and Supreme Court of Ma.s.sachusetts, and all the members of the Ess.e.x Club; also, many distinguished citizens, such as George Bancroft (who adds to his autograph "with special good wishes to the coming octogenarian"), Robert C. Winthrop, Frederick Dougla.s.s, and J. G. Blaine. An eloquent speech of Senator h.o.a.r, who suggested this unique tribute, is engrossed in the exquisite penmans.h.i.+p of a colored man, to whom was intrusted the ornamental pen-work of the whole volume. The congressional signatures were obtained by Congressman Coggswell of the Ess.e.x district. It is noticeable that no Southern member declined to sign this tribute to one so identified with the anti-slavery movement.

The "garden room" remains almost precisely as when occupied by the poet--the same chairs, open stove, books, pictures, and even wall-paper and carpet, remaining in it as he placed them. In the north window the flowers pressed between the plates of gla.s.s are those on receipt of which he wrote "The Pressed Gentian." By the desk is the cane he carried for more than fifty years, made of wood from his office in Pennsylvania Hall, burned by a pro-slavery mob in 1838. This is the cane for which he wrote the poem "The Relic:"--

"And even this relic from thy shrine, O holy Freedom! hath to me A potent power, a voice and sign To testify of thee; And, grasping it, methinks I feel A deeper faith, a stronger zeal."

[Ill.u.s.tration: THE "GARDEN ROOM," AMESBURY HOME]

He had many canes given him, some valuable, but this plain stick was the only one he ever carried. With this cane may be seen one made of oak from the cottage of Barbara Frietchie--not, as was erroneously stated in the biography, a cane carried by the patriotic Barbara. The portraits he hung in this room are of Garrison, Thomas Starr King, Emerson, Longfellow, Sturge, "Chinese" Gordon, and Matthew Franklin Whittier. There is also a fine picture of his birthplace, a water-color sent him by Bayard Taylor from the most northern point in Norway, and a picture, also sent by Bayard Taylor, of the Rock in El Ghor, on receipt of which the poem of that t.i.tle was written. The Norway picture was painted by Mrs. Taylor, and represents the surroundings of the northernmost church in the world. The mirror in this room is an heirloom of the Whittier family, dating at least a century before the birth of the poet. The little table under it is almost equally old.

The alb.u.m containing the likeness of Dr. Weld has also a photograph under which Whittier has written "Mary E. S. Thomas," and this has a special interest, as it is a portrait of his relative, schoolmate, and life-long friend, Mary Emerson Smith, who became the wife of Judge Thomas of Covington, Ky. She was a granddaughter of Captain Nehemiah Emerson, who fought at Bunker Hill, was an officer in the army of Was.h.i.+ngton, serving at Valley Forge and at the surrender of Burgoyne, and her grandmother was Mary Whittier--a cousin of the poet's father, whom Whittier used to call "aunt Mary." For a time, when in his teens, he stayed at Captain Emerson's, and went to school from there, making himself useful in doing ch.o.r.es. Mary Smith, then a young girl, pa.s.sed much of her time at her grandfather's, and later was a fellow-student of Whittier's at the Academy. I think there is now no impropriety in stating that it is to her that the poem "Memories" refers.[4] She was living at the time when the biography of Whittier was written, and for that reason her name was not given, but only a veiled reference in "Life and Letters," as at page 276. During many years of her widowhood she spent the summer months in New England, and occasionally met Mr.

Whittier at the mountains. They were in friendly correspondence to the close of his life. She survived him several years. It has been suggested with some show of probability that it is a memory of the days they spent together at her grandfather's that is embodied in the poem "My Playmate." At the time when this poem was written she was living in Kentucky.

"She lives where all the golden year Her summer roses blow; The dusky children of the sun Before her come and go."

But this poem, like others of Whittier's, is probably a composite of memories and largely imaginative, as is shown in what is elsewhere said about the localities of Ramoth Hill and Folly Mill.

[Ill.u.s.tration: MARY EMERSON (SMITH) THOMAS]

[Ill.u.s.tration: EVELINA BRAY, AT THE AGE OF SEVENTEEN]

In the "garden room" also is a miniature on ivory of a beautiful girl of seventeen, crowned with roses. This is Evelina Bray of Marblehead, a cla.s.smate of Whittier's at the Academy in the year 1827, when this portrait was painted. But for adverse circ.u.mstances, the school acquaintance which led to a warm attachment between them might have resulted in marriage. But the case was hopeless from the first. He was but nineteen years old, and she seventeen. On both sides the families opposed the match. Among the Quakers marriage "outside of society" was not to be thought of in those days; in his case it would mean the breaking up of a family circle dependent on him, and a severance from his loved mother and sister. This same reason prevented the ripening of other attachments in later life; for in each case his choice would have been "out of society." Two or three years after they parted at the close of an Academy term, he walked from Salem to Marblehead before breakfast on a June morning, to see his schoolmate. He was then editing the "American Manufacturer," in Boston. She could not invite him in, and they walked to the old ruined fort, and sat on the rocks overlooking the beautiful harbor. This meeting is commemorated in three stanzas of one of the loveliest of his poems, "A Sea Dream"--a poem, by the way, not as a whole referring to Marblehead or to the friend of his youth. But I have good authority for the statement that these three stanzas refer directly to the Marblehead incident. All who are familiar with the locality will recognize it in these verses:--

[Ill.u.s.tration: WHITTIER, AT THE AGE OF TWENTY-TWO]

"The waves are glad in breeze and sun, The rocks are fringed with foam; I walk once more a haunted sh.o.r.e, A stranger, yet at home, A land of dreams I roam.

"Is this the wind, the soft sea-wind That stirred thy locks of brown?

Are these the rocks whose mosses knew The trail of thy light gown, Where boy and girl sat down?

"I see the gray fort's broken wall, The boats that rock below; And, out at sea, the pa.s.sing sails We saw so long ago Rose-red in morning's glow."

With a single exception, these schoolmates did not meet again for more than fifty years, and Whittier was never aware of this exception. In middle life, when the poet was editing the "Pennsylvania Freeman," and Miss Bray was engaged with Catherine Beecher in educational work, they once happened to sit side by side in the pew of a Philadelphia church, but he left without recognizing her, and she was too shy to speak to him. I had the story from a lady who as a little girl sat in the pew with them, and knew them both. Miss Bray married an Englishman named Downey, and in a romantic way[5] Mr. Whittier discovered her address.

Mr. Downey was an evangelist making a crusade in the great cities against Romanism, and met his death from wounds received in facing a New York mob. Whittier, supposing he was poor, and that his schoolmate was having a hard time, sent Downey money without her knowledge. She accidentally discovered this and returned the money. In her widowhood she occasionally corresponded with Mr. Whittier, who induced her to come to the reunion of his schoolmates in 1885, more than fifty years after their parting at Marblehead, and more than forty years after the chance meeting in Philadelphia. At this reunion she gave him the miniature reproduced in our engraving, which was returned to her after Whittier's death. When she died it went to another schoolmate, the wife of Rev. Dr. S. F. Smith, author of our national hymn. From her it came to Whittier's niece, and is now kept in the drawer where the poet originally placed it. With it is the first portrait ever taken of Whittier--it being painted by the same artist (J. S. Porter) two or three years after the girl's miniature, while he was editing the "Manufacturer."

[Ill.u.s.tration: EVELINA BRAY DOWNEY]