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John Greenleaf Whittier

John Greenleaf Whittier

1807–1892 · lived 84 years -- --

John Greenleaf Whittier was an American poet and abolitionist, celebrated for his lyrical verse that often depicted rural New England life and championed social reform. His poetry evoked strong imagery of nature, home, and the changing seasons, resonating deeply with readers. A staunch advocate against slavery, Whittier used his literary platform to promote abolitionist ideals, making his work a significant voice in the moral and political landscape of 19th-century America. His legacy endures through his evocative poems and his commitment to justice.

n. 1807-12-17, Haverhill · m. 1892-09-07, Hampton Falls

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Derne

NIGHT on the city of the Moor!
On mosque and tomb, and white-walled shore,
On sea-waves, to whose ceaseless knock
The narrow harbor gates unlock,
On corsair's galley, carack tall,
And plundered Christian caraval!
The sounds of Moslem life are still;
No mule-bell tinkles down the hill;
Stretched in the broad court of the khan,
The dusty Bornou caravan
Lies heaped in slumber, beast and man;
The Sheik is dreaming in his tent,
His noisy Arab tongue o'erspent;
The kiosk's glimmering lights are gone,
The merchant with his wares withdrawn;
Rough pillowed on some pirate breast,
The dancing-girl has sunk to rest;
And, save where measured footsteps fall
Along the Bashaw's guarded wall,
Or where, like some bad dream, the Jew
Creeps stealthily his quarter through,
Or counts with fear his golden heaps,
The City of the Corsair sleeps!
But where yon prison long and low
Stands black against the pale star-glow,
Chafed by the ceaseless wash of waves,
There watch and pine the Christian slaves;
Rough-bearded men, whose far-off wives
Wear out with grief their lonely lives;
And youth, still flashing from his eyes
The clear blue of New England skies,
A treasured lock of whose soft hair
Now wakes some sorrowing mother's prayer;
Or, worn upon some maiden breast,
Stirs with the loving heart's unrest!
A bitter cup each life must drain,
The groaning earth is cursed with pain,
And, like the scroll the angel bore
The shuddering Hebrew seer before,
O'erwrit alike, without, within,
With all the woes which follow sin;
But, bitterest of the ills beneath
Whose load man totters down to death,
Is that which plucks the regal crown
Of Freedom from his forehead down,
And snatches from his powerless hand
The sceptred sign of self-command,
Effacing with the chain and rod
The image and the seal of God;
Till from his nature, day by day,
The manly virtues fall away,
And leave him naked, blind and mute,



The godlike merging in the brute!
Why mourn the quiet ones who die
Beneath affection's tender eye,
Unto their household and their kin
Like ripened corn-sheaves gathered in?
O weeper, from that tranquil sod,
That holy harvest-home of God,
Turn to the quick and suffering, shed
Thy tears upon the living dead!
Thank God above thy dear ones' graves,
They sleep with Him, they are not slaves.
What dark mass, down the mountain-sides
Swift-pouring, like a stream divides?
A long, loose, straggling caravan,
Camel and horse and armëd man.
The moon's low crescent, glimmering o'er
Its grave of waters to the shore,
Lights up that mountain cavalcade,
And gleams from gun and spear and blade
Near and more near! now o'er them falls
The shadow of the city walls.
Hark to the sentry's challenge, drowned
In the fierce trumpet's charging sound!
The rush of men, the musket's peal,
The short, sharp clang of meeting steel!
Vain, Moslem, vain thy lifeblood poured
So freely on thy foeman's sword!
Not to the swift nor to the strong
The battles of the right belong;
For he who strikes for Freedom wears
The armor of the captive's prayers,
And Nature proffers to his cause
The strength of her eternal laws;
While he whose arm essays to bind
And herd with common brutes his kind
Strives evermore at fearful odds
With Nature and the jealous gods,
And dares the dread recoil which late
Or soon their right shall vindicate.
'T is done, the hornëd crescent falls!
The star-flag flouts the broken walls!
Joy to the captive husband! joy
To thy sick heart, O brown-locked boy!
In sullen wrath the conquered Moor
Wide open flings your dungeon-door,
And leaves ye free from cell and chain,
The owners of yourselves again.
Dark as his allies desert-born,
Soiled with the battle's stain, and worn
With the long marches of his band
Through hottest wastes of rock and sand,
Scorched by the sun and furnace-breath



Of the red desert's wind of death,
With welcome words and grasping hands,
The victor and deliverer stands!
The tale is one of distant skies;
The dust of half a century lies
Upon it; yet its hero's name
Still lingers on the lips of Fame.
Men speak the praise of him who gave
Deliverance to the Moorman's slave,
Yet dare to brand with shame and crime
The heroes of our land and time, —
The self-forgetful ones, who stake
Home, name, and life for Freedom's sake.
God mend his heart who cannot feel
The impulse of a holy zeal,
And sees not, with his sordid eyes,
The beauty of self-sacrifice!
Though in the sacred place he stands,
Uplifting consecrated hands,
Unworthy are his lips to tell
Of Jesus' martyr-miracle,
Or name aright that dread embrace
Of suffering for a fallen race!
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Bio

Identification and basic context

John Greenleaf Whittier was an influential American poet and a prominent abolitionist. Born into a Quaker family in Haverhill, Massachusetts, he became one of the most widely read poets of his time. His work often reflected his deep connection to New England, its landscapes, and its people, while also serving as a powerful vehicle for his social and political convictions, particularly his fervent opposition to slavery.

Childhood and education

Whittier grew up on a farm, receiving a limited formal education. He attended local schools but was largely self-taught, fueled by a passion for reading. His early exposure to poetry, particularly that of Robert Burns, had a significant impact. His Quaker upbringing instilled in him a strong sense of moral duty, equality, and pacifism, which profoundly shaped his worldview and his future activism.

Literary trajectory

Whittier began writing poetry in his youth, initially contributing to local newspapers. His early work focused on descriptive and lyrical themes. However, his career took a significant turn with his involvement in the abolitionist movement. He became a prolific writer of anti-slavery poetry, essays, and articles, using his literary skills to advocate for the emancipation of enslaved people. He also served as an editor for several abolitionist publications. Throughout his life, he continued to produce poetry that celebrated nature, history, and the human spirit.

Works, style, and literary characteristics

Among Whittier's most famous works are 'Snow-Bound: A Winter Idyl,' a semi-autobiographical narrative poem depicting a New England blizzard; 'The Barefoot Boy,' a nostalgic reflection on childhood; and numerous anti-slavery poems such as 'Ichabod!' and 'The Slave Ships.' His style is characterized by its clarity, simplicity, and vivid imagery, often drawing upon the rhythms of folk songs and hymns. His dominant themes include the beauty of rural life, the virtues of hard work, the passage of time, and the moral imperative of justice and equality. He often employed a lyrical and sometimes elegiac tone, but his abolitionist poems could be passionate and indignant.

Cultural and historical context

Whittier was a key figure in the 'Fireside Poets,' a group of New England writers whose works were popular for home readings. He was deeply immersed in the social and political struggles of 19th-century America, particularly the anti-slavery movement. His writings engaged directly with contemporary issues, advocating for social reform and moral progress. He was a contemporary of other prominent writers and activists, and his work contributed to the broader cultural and intellectual discourse of the era.

Personal life

Whittier remained unmarried and dedicated much of his life to his writing and his abolitionist activities. He maintained close relationships with his family and friends, and his home in Amesbury, Massachusetts, became a hub for literary and intellectual discussions. Despite facing personal challenges and the constant pressures of his activism, he found solace and inspiration in nature and his Quaker faith.

Recognition and reception

Whittier achieved considerable fame during his lifetime, becoming one of America's most beloved poets. His works were widely read and admired, both for their aesthetic qualities and their moral messages. He was recognized for his contributions to literature and his role as a voice for social justice. While some of his abolitionist poems were controversial at the time, his overall reputation as a significant American poet has endured.

Influences and legacy

Whittier was influenced by earlier poets like Robert Burns and later poets were influenced by his lyrical depiction of American life and his commitment to reform. His legacy lies in his contribution to American poetry, particularly his ability to capture the essence of rural New England, and his unwavering dedication to the abolitionist cause. He is remembered as a poet of conscience and a significant figure in the fight for human rights.

Interpretation and critical analysis

Interpretations of Whittier's work often highlight his role as a chronicler of rural American life and a moral voice of his generation. Critics analyze his use of nature imagery, his religious and philosophical underpinnings (rooted in Quakerism), and the effectiveness of his abolitionist poetry as a form of social protest. His nostalgic portrayals of rural life are sometimes contrasted with the harsher realities of the industrializing nation.

Curiosities and lesser-known aspects

Whittier was a lifelong vegetarian and a teetotaler, reflecting his Quaker principles. He was also an early advocate for women's suffrage. An interesting aspect of his life was his near-miss with a railroad accident, which he later commemorated in a poem. Despite his fame, he was known for his humility and his aversion to public accolades.

Death and memory

John Greenleaf Whittier died in Hampton Falls, New Hampshire. His passing was widely mourned, and he was memorialized as a significant American literary figure and a champion of human rights. His poems continue to be read and appreciated, particularly for their evocative descriptions of nature and their enduring moral messages.

Poems

241

Kenoza Lake

As Adam did in Paradise,
To-day the primal right we claim
Fair mirror of the woods and skies,
We give to thee a name.


Lake of the pickerel!--let no more
The echoes answer back, 'Great Pond,'
But sweet Kenoza, from thy shore
And watching hills beyond,


Let Indian ghosts, if such there be
Who ply unseen their shadowy lines,
Call back the ancient name to thee,
As with the voice of pines.


The shores we trod as barefoot boys,
The nutted woods we wandered through,
To friendship, love, and social joys
We consecrate anew.


Here shall the tender song be sung,
And memory's dirges soft and low,
And wit shall sparkle on the tongue,
And mirth shall overflow,


Harmless as summer lightning plays
From a low, hidden cloud by night,
A light to set the hills ablaze,
But not a bolt to smite.


In sunny South and prairied West
Are exiled hearts remembering still,
As bees their hive, as birds their nest,
The homes of Haverhill.


They join us in our rites to-day;
And, listening, we may hear, erelong,
From inland lake and ocean bay,
The echoes of our song.


Kenoza! o'er no sweeter lake
Shall morning break or noon-cloud sail,-No
fairer face than thine shall take
The sunset's golden veil.


Long be it ere the tide of trade
Shall break with harsh-resounding din
The quiet of thy banks of shade,
And hills that fold thee in.


Still let thy woodlands hide the hare,
The shy loon sound his trumpet-note,



Wing-weary from his fields of air,
The wild-goose on thee float.


Thy peace rebuke our feverish stir,
Thy beauty our deforming strife;
Thy woods and waters minister
The healing of their life.


And sinless Mirth, from care released,
Behold, unawed, thy mirrored sky,
Smiling as smiled on Cana's feast
The Master's loving eye.


And when the summer day grows dim,
And light mists walk thy mimic sea,
Revive in us the thought of Him
Who walked on Galilee!
260

My Playmate

The pines were dark on Ramoth hill,
Their song was soft and low;
The blossoms in the sweet May wind
Were falling like the snow.


The blossoms drifted at our feet,
The orchard birds sang clear;
The sweetest and the saddest day
It seemed of all the year.


For, more to me than birds or flowers,
My playmate left her home,
And took with her the laughing spring,
The music and the bloom.


She kissed the lips of kith and kin,
She laid her hand in mine
What more could ask the bashful boy
Who fed her father's kine?


She left us in the bloom of May
The constant years told o'er
Their seasons with as sweet May morns,
But she came back no more.


I walk, with noiseless feet, the round
Of uneventful years;
Still o'er and o'er I sow the spring
And reap the autumn ears.


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


There haply with her jewelled hands
She smooths her silken gown,
No
more the homespun lap wherein
I shook the walnuts down.


The wild grapes wait us by the brook,
The brown nuts on the hill,
And still the May-day flowers make sweet
The woods of Follymill.


The lilies blossom in the pond,
The bird builds in the tree,
The dark pines sing on Ramoth hill
The slow song of the sea.


I wonder if she thinks of them,
And how the old time seems,



If ever the pines of Ramoth wood
Are sounding in her dreams.


I see her face, I hear her voice;
Does she remember mine?
And what to her is now the boy
Who fed her father's kine?


What cares she that the orioles build
For other eyes than ours,
That
other hands with nuts are filled,
And other laps with flowers?


O playmate in the golden time!
Our mossy seat is green,
Its fringing violets blossom yet,
The old trees o'er it lean.


The winds so sweet with birch and fern
A sweeter memory blow;
And there in spring the veeries sing
The song of long ago.


And still the pines of Ramoth wood
Are moaning like the sea,


The moaning of the sea of change
Between myself and thee!
258

The Pipes At Lucknow

Pipes of the misty moorlands,
Voice of the glens and hills;
The droning of the torrents,
The treble of the rills!
Not the braes of bloom and heather,
Nor the mountains dark with rain,
Nor maiden bower, nor border tower,
Have heard your sweetest strain!


Dear to the Lowland reaper,
And plaided mountaineer, To
the cottage and the castle
The Scottish pipes are dear; Sweet
sounds the ancient pibroch
O'er mountain, loch, and glade;
But the sweetest of all music
The pipes at Lucknow played.


Day by day the Indian tiger
Louder yelled, and nearer crept;
Round and round the jungle-serpent
Near and nearer circles swept.
'Pray for rescue, wives and mothers, Pray
to-day!' the soldier said;
'To-morrow, death's between us
And the wrong and shame we dread.'


Oh, they listened, looked, and waited,
Till their hope became despair;
And the sobs of low bewailing
Filled the pauses of their prayer.
Then up spake a Scottish maiden.
With her ear unto the ground:
'Dinna ye hear it? - dinna ye hear it?
The pipes o' Havelock sound!'


Hushed the wounded man his groaning;
Hushed the wife her little ones;
Alone they heard the drum-roll
And the roar of Sepoy guns.
But to sounds of home and childhood
The Highland ear was true; As
her mother's cradle-crooning
The mountain pipes she knew.


Like the march of soundless music
Through the vision of the seer,
More of feeling than of hearing,
Of the heart than of the ear,
She knew the droning pibroch,
She knew the Campbell's call:
'Hark! hear ye no MacGregor's,



The grandest o' them all!'


Oh, they listened, dumb and breathless,
And they caught the sound at last;
Faint and far beyond the Goomtee
Rose and fell the piper's blast!
Then a burst of wild thanksgiving
Mingled woman's voice and man's;
'God be praised! - the march of Havelock!
The piping of the clans!'


Louder, nearer, fierce as vengeance,
Sharp and shrill as swords at strife,
Came the wild MacGregor's clan-call,
Stinging all the air to life.
But when the far-off dust-cloud
To plaided legions grew,
Full tenderly and blithesomely
The pipes of rescue blew!


Round the silver domes of Lucknow.
Moslem mosque and Pagan shrine,
Breathed the air to Britons dearest,
The air of Auld Lang Syne.
O'er the cruel roll of war-drums
Rose that sweet and homelike strain;
And the tartan clove the turban,
As the Goomtee cleaves the plain.


Dear to the corn-land reaper
And plaided mountaineer, To
the cottage and the castle
The piper's song is dear.
Sweet sounds the Gaelic pibroch
O'er mountain, glen, and glade;
But the sweetest of all music
The pipes at Lucknow played!
258

To A Southern Statesman

IS this thy voice whose treble notes of fear
Wail in the wind? And dost thou shake to hear,
Actæon-like, the bay of thine own hounds,
Spurning the leash, and leaping o'er their bounds?
Sore-baffled statesman! when thy eager hand,
With game afoot, unslipped the hungry pack,
To hunt down Freedom in her chosen land,
Hadst thou no fear, that, erelong, doubling back,
These dogs of thine might snuff on Slavery's track?
Where's now the boast, which even thy guarded tongue,
Cold, calm, and proud, in the teeth o' the Senate flung,
O'er the fulfilment of thy baleful plan,
Like Satan's triumph at the fall of man?
How stood'st thou then, thy feet on Freedom planting,
And pointing to the lurid heaven afar,
Whence all could see, through the south windows slanting,
Crimson as blood, the beams of that Lone Star!
The Fates are just; they give us but our own;
Nemesis ripens what our hands have sown.
There is an Eastern story, not unknown,
Doubtless, to thee, of one whose magic skill
Called demons up his water-jars to fill;
Defty and silently, they did his will,
But, when the task was done, kept pouring still.
In vain with spell and charm the wizard wrought,
Faster and faster were the buckets brought,
Higher and higher rose the flood around,
Till the fiends clapped their hands above their master drowned!
So, Carolinian, it may prove with thee,
For God still overrules man's schemes, and takes
Craftiness in its self-set snare, and makes
The wrath of man to praise Him. It may be,
That the roused spirits of Democracy
May leave to freer States the same wide door
Through which thy slave-cursed Texas entered in,
From out the blood and fire, the wrong and sin,
Of the stormed city and the ghastly plain,
Beat by hot hail, and wet with bloody rain,
The myriad-handed pioneer may pour,
And the wild West with the roused North combine
And heave the engineer of evil with his mine.
257

From Snow-Bound, 11:1-40, 116-154

The sun that brief December day
Rose cheerless over hills of gray,
And, darkly circled, gave at noon
A sadder light than waning moon.
Slow tracing down the thickening sky
Its mute and ominous prophecy,
A portent seeming less than threat,
It sank from sight before it set.
A chill no coat, however stout,
Of homespun stuff could quite shut out,
A hard, dull bitterness of cold,
That checked, mid-vein, the circling race
Of life-blood in the sharpened face,
The coming of the snow-storm told.
The wind blew east: we heard the roar
Of Ocean on his wintry shore,
And felt the strong pulse throbbing there
Beat with low rhythm our inland air.
Meanwhile we did your nightly chores,-Brought
in the wood from out of doors,
Littered the stalls, and from the mows
Raked down the herd's-grass for the cows;
Heard the horse whinnying for his corn;
And, sharply clashing horn on horn,
Impatient down the stanchion rows
The cattle shake their walnut bows;
While, peering from his early perch
Upon the scaffold's pole of birch,
The cock his crested helmet bent
And down his querulous challenge sent.


Unwarmed by any sunset light
The gray day darkened into night,
A night made hoary with the swarm
And whirl-dance of the blinding storm,
As zigzag, wavering to and fro
Crossed and recrossed the wingèd snow:
And ere the early bed-time came
The white drift piled the window-frame,
And through the glass the clothes-line posts
Looked in like tall and sheeted ghosts.


*


As night drew on, and, from the crest
Of wooded knolls that ridged the west,
The sun, a snow-blown traveller, sank
From sight beneath the smothering bank,
We piled, with care, our nightly stack
Of wood against the chimney-back,-The
oaken log, green, huge, and thick,
And on its top the stout back-stick;



The knotty forestick laid apart,
And filled between with curious art
The ragged brush; then, hovering near,
We watched the first red blaze appear,
Heard the sharp crackle, caught the gleam
On whitewashed wall and sagging beam,
Until the old, rude-furnished room
Burst, flower-like, into rosy bloom;
While radiant with a mimic flame
Outside the sparkling drift became,
And through the bare-boughed lilac-tree
Our own warm hearth seemed blazing free.
The crane and pendent trammels showed,
The Turks' heads on the andirons glowed;
While childish fancy, prompt to tell
The meaning of the miracle,
Whispered the old rhyme: "Under the tree,
When fire outdoors burns merrily,
There the witches are making tea."
The moon above the eastern wood
Shone at its full; the hill-range stood
Transfigured in the silver flood,
Its blown snows flashing cold and keen,
Dead white, save where some sharp ravine
Took shadow, or the somber green
Of hemlocks turned to pitchy black
Against the whiteness at their back.
For such a world and such a night
Most fitting that unwarming light,
Which only seemed where'er it fell
To make the coldness visible.
257

Hymn For The Opening Of Thomas Starr King’s House Of Worship, 1864

Amidst these glorious works of Thine,
The solemn minarets of the pine,
And awful Shasta's icy shrine,-


Where swell Thy hymns from wave and gale,
And organ-thunders never fail,
Behind the cataract's silver veil,


Our puny walls to Thee we raise,
Our poor reed-music sounds Thy praise:
Forgive, O Lord, our childish ways!


For, kneeling on these altar-stairs,
We urge Thee not with selfish prayers,
Nor murmur at our daily cares.


Before Thee, in an evil day,
Our country's bleeding heart we lay,
And dare not ask Thy hand to stay;


But, through the war-cloud, pray to Thee
For union, but a union free,
With peace that comes of purity!


That Thou wilt bare Thy arm to, save
And, smiting through this Red Sea wave,
Make broad a pathway for the slave!


For us, confessing all our need,
We trust nor rite nor word nor deed,
Nor yet the broken staff of creed.


Assured alone that Thou art good
To each, as to the multitude,
Eternal Love and Fatherhood,-


Weak, sinful, blind, to Thee we kneel,
Stretch dumbly forth our hands, and feel
Our weakness is our strong appeal.


So, by these Western gates of Even
We wait to see with Thy forgiven
The opening Golden Gate of Heaven!


Suffice it now. In time to be
Shall holier altars rise to Thee,-Thy
Church our broad humanity


White flowers of love its walls shall climb,
Soft bells of peace shall ring its chime,
Its days shall all be holy time.



A sweeter song shall then be heard,--
The music of the world's accord
Confessing Christ, the Inward Word!

That song shall swell from shore to shore,
One hope, one faith, one love, restore
The seamless robe that Jesus wore.
258

Laying Up Treasure

From the Mahabharata.

Before the Ender comes, whose charioteer
Is swift or slow Disease, lay up each year
Thy harvests of well-doing, wealth that kings
Nor thieves can take away. When all the things
Thou tallest thine, goods, pleasures, honors fall,
Thou in thy virtue shalt survive them all.
253

The Relic

TOKEN Of friendship true and tried,
From one whose fiery heart of youth
With mine has beaten, side by side,
For Liberty and Truth;
With honest pride the gift I take,
And prize it for the giver's sake.
But not alone because it tells
Of generous hand and heart sincere;
Around that gift of friendship dwells
A memory doubly dear;
Earth's noblest aim, man's holiest thought,
With that memorial frail inwrought!
Pure thoughts and sweet like flowers unfold,
And precious memories round it cling,
Even as the Prophet's rod of old
In beauty blossoming:
And buds of feeling, pure and good,
Spring from its cold unconscious wood.
Relic of Freedom's shrine! a brand
Plucked from its burning! let it be
Dear as a jewel from the hand
Of a lost friend to me!
Flower of a perished garland left,
Of life and beauty unbereft!
Oh, if the young enthusiast bears,
O'er weary waste and sea, the stone
Which crumbled from the Forum's stairs,
Or round the Parthenon;
Or olive-bough from some wild tree
Hung over old Thermopylæ:
If leaflets from some hero's tomb,
Or moss-wreath torn from ruins hoary;
Or faded flowers whose sisters bloom
On fields renowned in story;
Or fragment from the Alhambra's crest,
Or the gray rock by Druids blessed;
Sad Erin's shamrock greenly growing
Where Freedom led her stalwart kern,
Or Scotia's 'rough bur thistle' blowing
On Bruce's Bannockburn;
Or Runnymede's wild English rose,
Or lichen plucked from Sempach's snows!
If it be true that things like these
To heart and eye bright visions bring,
Shall not far holier memories
To this memorial cling?
Which needs no mellowing mist of time
To hide the crimson stains of crime!
Wreck of a temple, unprofaned;
Of courts where Peace with Freedom trod,
Lifting on high, with hands unstained,
Thanksgiving unto God;



Where Mercy's voice of love was pleading
For human hearts in bondage bleeding!
Where, midst the sound of rushing feet
And curses on the night-air flung,
That pleading voice rose calm and sweet
From woman's earnest tongue;
And Riot turned his scowling glance,
Awed, from her tranquil countenance!
That temple now in ruin lies!
The fire-stain on its shattered wall,
And open to the changing skies
Its black and roofless hall,
It stands before a nation's sight
A gravestone over buried Right!
But from that ruin, as of old,
The fire-scorched stones themselves are crying,
And from their ashes white and cold
Its timbers are replying!
A voice which slavery cannot kill
Speaks from the crumbling arches still!
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.
And not unlike that mystic rod,
Of old stretched o'er the Egyptian wave,
Which opened, in the strength of God,
A pathway for the slave,
It yet may point the bondman's way,
And turn the spoiler from his prey.
253

St. Martin's Summer

Though flowers have perished at the touch
Of Frost, the early comer,
I hail the season loved so much,
The good St. Martin's summer.


O gracious morn, with rose-red dawn,
And thin moon curving o'er it!
The old year's darling, latest born,
More loved than all before it!


How flamed the sunrise through the pines!
How stretched the birchen shadows,
Braiding in long, wind-wavered lines
The westward sloping meadows!


The sweet day, opening as a flower
Unfolds its petals tender,
Renews for us at noontide's hour
The summer's tempered splendor.


The birds are hushed; alone the wind,
That through the woodland searches,
The red-oak's lingering leaves can find,
And yellow plumes of larches.


But still the balsam-breathing pine
Invites no thought of sorrow,
No hint of loss from air like wine
The earth's content can borrow.


The summer and the winter here
Midway a truce are holding,
A soft, consenting atmosphere
Their tents of peace enfolding.


The silent woods, the lonely hills,
Rise solemn in their gladness;
The quiet that the valley fills
Is scarcely joy or sadness.


How strange! The autumn yesterday
In winter's grasp seemed dying;
On whirling winds from skies of gray
The early snow was flying.


And now, while over Nature's mood
There steals a soft relenting,
I will not mar the present good,
Forecasting or lamenting.


My autumn time and Nature's hold
A dreamy tryst together,



And, both grown old, about us fold
The golden-tissued weather.


I lean my heart against the day
To feel its bland caressing;
I will not let it pass away
Before it leaves its blessing.


God's angels come not as of old
The Syrian shepherds knew them;
In reddening dawns, in sunset gold,
And warm noon lights I view them.


Nor need there is, in times like this
When heaven to earth draws nearer,
Of wing or song as witnesses
To make their presence clearer.


O stream of life, whose swifter flow
Is of the end forewarning,
Methinks thy sundown afterglow
Seems less of night than morning!


Old cares grow light; aside I lay
The doubts and fears that troubled;
The quiet of the happy day
Within my soul is doubled.


That clouds must veil this fair sunshine
Not less a joy I find it;
Nor less yon warm horizon line
That winter lurks behind it.


The mystery of the untried days
I close my eyes from reading;
His will be done whose darkest ways
To light and life are leading!


Less drear the winter night shall be,
If memory cheer and hearten
Its heavy hours with thoughts of thee,
Sweet summer of St. Martin!
253

Norumbega Hall

Not on Penobscot's wooded bank the spires
Of the sought City rose, nor yet beside
The winding Charles, nor where the daily tide
Of Naumkeag's haven rises and retires,
The vision tarried; but somewhere we knew
The beautiful gates must open to our quest,
Somewhere that marvellous City of the West
Would lift its towers and palace domes in view,
And, to! at last its mystery is made known-Its
only dwellers maidens fair and young,
Its Princess such as England's Laureate sung;
And safe from capture, save by love alone,
It lends its beauty to the lake's green shore,
And Norumbega is a myth no more.
251

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