Part 3

Another member of Brook Farm in its earlier period was Minott Pratt, who had been a printer, and the foreman in the office of the _Christian Register_, the Unitarian paper published in Boston. Dr. Codman says of him that he was "a finely formed, large, graceful-featured, modest man. His voice was low, soft, and calm. His presence inspired confidence and respect. Whatever he touched was well done. He was faithful and dignified, and the serenity of his nature welled up in genial smiles. In farm-work he was Mr. Ripley's right hand. They agreed in practical matters, and Ripley deferred to his judgment. His wife was an earnest, strong, faithful worker. They entered into the scheme with fervor." Another Brook Farmer said of him: "No one can ever forget the entire freedom from fret and fume and worry he evinced, while he never neglected a duty or failed to accomplish his full share of work. No one can fail to recall how peaceful and free from criticism his life was, with what rare fidelity he estimated his fellows, and how little apparent thought or recognition of self there was in all his actions. Indeed, the loveliness of his spirit shone through the bodily vesture, and his smile itself was a blessing which one might seek to win, and be proud to have gained by one's exertions. His presence, in all the various spheres of active life and industry, had a wonderful educational power upon both old and young; and to the influence of several individuals of similar beauty of character I attribute the harmony and beauty, in considerable degree, of our Brook Farm life."

Pratt spent the remainder of his life, after the Brook Farm episode, in Concord, and there he has, even now, the reputation of having been a model farmer. He was an extremely modest man, very little forthputting, gentle in manner, and most neighborly in spirit. He wrote many papers for the Concord Farmers' Club, and some of these were printed in the _Boston Commonwealth_. In that paper, when Mr. Frank B. Sanborn was the editor, he published a series of articles on country life, which were delightful to read. He was a fine writer, and what he wrote showed the grace and charm of the man. He gave much attention to botany, knew all the plants and flowers in Concord, and knew them both as a scientist and poet.

For several years Pratt was in the habit of gathering on the lawn in front of his house, under a large elm-tree, a picnic of such of his Brook Farm associates as he could bring together. Emerson, Phillips, Thoreau, Curtis, George Bradford, and others of note, often attended. The gathering was a delightful one, and it was made an occasion of happy reminiscences and a renewal of old personal ties and affections.

Some of the reminiscences of Brook Farm mention that Curtis walked in the moonlight with Caroline Sturgis, who, over the signature of "Z," contributed a number of poems to _The Dial_. She was an intimate friend of Margaret Fuller, and she afterwards published "Rainbows for Children," "The Magician's Show-box," and other children's books. She married William A. Tappan, who rented to Hawthorne the cottage in which he lived at Lenox. Mrs. Lathrop's book about her mother contains many reminiscences of them. She was a daughter of William Sturgis, a wealthy Boston merchant. A sister, Mrs. Ellen H. Hooper, was also a contributor to _The Dial_, in which appeared her poem beginning with the line:

"I slept and dreamed that life was beauty."

Another well-known poem was written by her:

"She stood outside the gate of heaven and saw them entering in."

Colonel Higginson speaks of her as "a woman of genius," and Margaret Fuller wrote of her from Rome: "I have seen in Europe no woman more gifted by nature than she."

Under date of October 25, 1845, Curtis mentions a religious meeting which had been recently held at Brook Farm. This was a reference to one of the many occasions on which William Henry Channing conducted religious services there, for he was listened to with greater satisfaction than any one else who spoke on religious subjects. When the weather was suitable he preached in the grove near the Margaret Fuller cottage (so called); and on the present occasion he asked those present to join hands and to repeat with him a bond of union or confession of faith, and constitute themselves into a church. Before this time no religious organization had existed at Brook Farm, the utmost liberty of opinion being cultivated there. In fact, the leaders of the movement had been strongly opposed to any religious formalism or organized effort at religious instruction. The freedom of belief was such that Freethinkers on the one side, and devout Catholics on the other, were welcomed with equal cordiality. The majority of the members were undoubtedly of the "liberal" school in theology, and found in the preaching of Theodore Parker the kind of spiritual instruction they desired. At one time there was an enthusiastic interest in the teachings of Swedenborg.

It was the tendency towards what was at once practical and mystical which drew the large majority of the Farmers to the preaching of William Henry Channing, who was one of the most gifted preachers which America has produced. He was imaginative, mystical, and eloquent, liberal in his thinking, progressive in his social ideals, and profoundly religious. He was thoroughly in sympathy with the Associationist movement, and more than any other man he was the spiritual leader and confessor of those who found in that movement a practical realization of their religious convictions.

The organization which began on that Sunday afternoon in October, 1845, continued to exist at Brook Farm until January, 1847, when "The Religious Union of Associationists" was organized in Boston, with Channing as the minister. For a few years it was successful, and it gave union and purpose to the Associationist movement in Boston and the vicinity. A considerable number of the members of Brook Farm were connected with it actively--as officers, members of the choir, or regular attendants.

The organization effected in the pine woods in so informal a manner was quite in harmony with the Brook Farm spirit and methods. Formalism of every kind was dreaded, but yet there was a deeply religious interest pervading the whole life of the community. At all the meetings held by the Farmers, even at little social gatherings, the conversation was likely to run on high themes. While there was present the utmost freedom of opinion and expression, and while there was the greatest effort to avoid cant and conventional phraseology, yet there was in the community a very strong religious feeling; and nearly all the members held serious and earnest convictions, to which they were unusually faithful in their daily living.

III

The relations of Curtis to his teachers at Brook Farm were cordial and appreciative, but they were especially so with John S. Dwight, with whom he studied music. When he left the farm, an intimate and confidential correspondence began between them, and this continued until Curtis went to Europe. After he returned it was resumed, but the interchange of letters was not so frequent. They continued to write to each other almost to the end of Dwight's life, however, and their friendship was always sympathetic and confidential. The letters of Dwight have not been preserved, with two or three exceptions, but those of Curtis still exist in unbroken succession, and are presented to the public in this volume. In these days, when we complain of the decay of letter-writing, they afford a remarkably good specimen of youthful effort in that kind of literature.

To Dwight there were sent by Curtis several poems, which were printed in the _Harbinger_, and he also sent two letters from New York on musical topics. Two of his letters to Dwight from Europe were also printed in the _Harbinger_. After he was settled in New York, Curtis did his part in an effort to get Dwight established in that city. When Dwight began his _Journal of Music_, Curtis wrote for it frequently over the signature of "Hafiz." It is safe to say that these contributions were not paid for, but were the result of a desire to aid his friend in his musical enterprise. They were of the nature of passing comments on the musical performances of the day, but they were worthy of the pages in which they appeared.

John Sullivan Dwight was born in Court Street, Boston, May 13, 1813, the son of Dr. John Dwight and his wife Mary. He was educated at the Derne Street Grammar School and the Boston Latin School, from which he entered Harvard College. As a boy he was a devoted reader of books, studious in his habits, but little inclined to active or practical pursuits. When about fifteen, he began to take an interest in music, and from his father he received the best instruction in that art.

Young Dwight entered Harvard in 1829, and he carried through the studies of the course with a fair degree of success. He gave much attention to music, joined the Pierian Sodality, and was an earnest reader of the best poetry. He gave the class poem on his graduation, in 1832. During his Senior year he taught at Northborough, and following his graduation he spent a year as a tutor in a family at Meadville, Pennsylvania. In the autumn of 1834 he entered the theological school at Harvard, and graduated therefrom in August, 1836, his dissertation being on "The Proper Character of Poetry and Music for Public Worship," which was published in the _Christian Examiner_ for that year.

Dwight's interest in music led him to take a leading part in bringing together, in 1837, those recent graduates of the college who were of like mind with himself; and a society was organized for the purpose of promoting its study. In 1840 the name was changed to that of the "Harvard Musical Association"; in 1845 it was incorporated, and in 1848 the place of meeting was transferred to Boston.

It was three years and a half after Dwight left the theological school before he had secured a pulpit. He preached nearly every Sunday, but he had become a member of the Transcendental Club, he was in sympathy with Emerson and Parker, and the churches did not find his preaching acceptable. He wrote several papers for the _Christian Examiner_, and reviewed a number of books in the same periodical. The first review of Tennyson published in this country he gave to the public in that journal. In 1838 he published in the series of translations edited by George Ripley, under the general title of "Specimens of Foreign Standard Literature," a volume of "Select Minor Poems, Translated from the German of Goethe and Schiller, with Notes." Several of Dwight's friends aided him in this translation, especially on the poems of Schiller; but the valuable notes appended were furnished by himself. The volume was dedicated to Carlyle, who wrote a characteristic letter in giving his permission, and a still more interesting one in acknowledging the receipt of the book.

In May, 1840, Dwight became the minister of the little Unitarian parish at Northampton, and the ordination sermon was preached by George Ripley, the address to the minister being given by Dr. W.E. Channing. From the first the people were not fully agreed as to Dwight's preaching, and the objections gradually increased as his strong Transcendental habits of thought began to be more clearly manifest. A few persons of thoughtful and more distinctly spiritual cast of mind were warmly drawn to him, but the majority grew more and more opposed to him, and he withdrew from the parish after a year and a half. During his stay in Northampton he wrote for _The Dial_, for one or two musical journals, planned several extended literary undertakings, and gave lectures before the American Institute of Instruction and the Harvard Musical Association. In _The Dial_ was published one of his sermons, under the title of "Religion of Beauty," and another called "Ideals of Every-day Life." At the end of that on the religion of beauty was printed a poem of Dwight's, which has been often credited to Goethe, and is usually given the title of

"REST

Sweet is the pleasure, Itself cannot spoil! Is not true leisure One with true toil?

Thou that wouldst taste it, Still do thy best; Use it, not waste it, Else 'tis no rest.

Wouldst behold beauty Near thee, all round? Only hath duty Such a sight found.

Rest is not quitting The busy career; Rest is the fitting Of self to its sphere.

'Tis the brook's motion, Clear without strife, Fleeing to ocean After its life.

Deeper devotion Nowhere hath knelt; Fuller emotion Heart never felt.

'Tis loving and serving The Highest and Best! 'Tis onwards! unswerving, And that is true rest."

As an intimate friend of George Ripley, Dwight had discussed with him the project of a community at Brook Farm; and it was natural that he should find his place there in November, 1841. Many years later Dwight said of the purposes of Ripley, in this effort to improve upon the usual forms of social life: "His aspiration was to bring about a truer state of society, one in which human beings should stand in frank relations of true equality and fraternity, mutually helpful, respecting each other's occupation, and making one the helper of the other. The prime idea was an organization of industry in such a way that the most refined and educated should show themselves practically on a level with those whose whole education had been hard labor. Therefore, the scholars and the cultivated would take their part also in the manual labor, working on the farm or cultivating nurseries of young trees, or they would even engage in the housework."

In the Brook Farm community, Dwight was one of the leaders, his place being next after Ripley and Dana. In the school he was the instructor in Latin and music. His love for music began to make itself strongly manifest at this time; he brought out all the musical talent which could be developed among the members of the community. Of this phase he said: "The social education was extremely pleasant. For instance, in the matter of music we had extremely limited means or talent, and very little could be done except in a very rudimentary, tentative, and experimental way. We had a singing-class, and we had some who could sing a song gracefully and accompany themselves at the piano. We had some piano music; and, so far as it was possible, care was taken that it should be good--sonatas of Beethoven and Mozart, and music of that order. We sang masses of Haydn and others, and no doubt music of a better quality than prevailed in most society at that date, but that would be counted nothing now. Occasionally we had artists come to visit us. We had delightful readings; and, once in a while, when William Henry Channing was in the neighborhood, he would preach us a sermon."

At this time a musical awakening was taking place in Boston, a genuine taste for and appreciation of Beethoven, Mozart, and Haydn was being developed. Dwight was instrumental in promoting a love for these masters, and out of his classes for their study grew what were called "Mass Clubs." He and his pupils often went into Boston to hear the best music, walking both ways. In _The Dial_, and especially in the _Harbinger_, Dwight wrote with enthusiasm and poetic charm of the merits of classical music. He wrote afterwards that the treatment of music in these periodicals told the time of day far ahead; and "such discussion did at least contribute much to make music more respected, to lift it in the esteem of thoughtful persons to a level with the rest of the humanities of culture, and especially to turn attention to the nobler compositions, and away from that which is but idle, sensual, and vulgar."

To the _Christian Examiner_, _Boston Miscellany_, _Lowell's Pioneer_, and the _Democratic Review_, Dwight was an occasional contributor at this period. His chief literary work, however, was in the form of lectures on musical subjects, especially on the great composers already named. He gave a successful course of musical lectures in New York, and he lectured in a number of other cities.

To the _Harbinger_, which was the organ of Brook Farm after the Fourierite period began, as well as the best advocate of associated life ever published in the country, Dwight was one of the chief contributors. He wrote much in behalf of association, but he also discussed literary topics. His chief contributions were on the subject of music, which was then, as always, so near his heart. He conducted the department devoted to musical criticism and interpretation. During the last year of the publication of the paper at Brook Farm he was associated with Ripley in the editorial management.

In 1847 Brook Farm came to an end. The _Harbinger_ was removed to New York, and Ripley was its editor; but it was discontinued in less than two years. Dwight was the Boston correspondent, and continued his editorial connection with the paper. He removed to Boston, continued his interest in association, was an active member of W.H. Channing's "Religious Union of Associationists," was one of the most zealous workers in the organization for promoting associated life, and began to write for the _Daily Chronotype_ on musical subjects. In 1849 he edited a department in the _Chronotype_ devoted to the interests of association, and he had the assistance of Channing, Brisbane, Dana, and Cranch. This arrangement was continued for only a few months, not proving a success. In 1851 he was for six months the musical editor of the _Boston Commonwealth_, he wrote for _Sartain's Magazine_ and other periodicals on musical topics, and he continued to lecture. Ripley and Dana made an earnest effort to secure him a place on one of the daily journals in New York. In February, 1851, Dwight and Mary Bullard, who had been a frequent visitor at Brook Farm, and a member of the choir at Channing's church in Boston, of which Dwight was the musical leader, were married. She was a beautiful and attractive woman, of some musical talent, and of a most unselfish and winning character. They went to live in Charles Street, and there had Dr. O.W. Holmes and his wife for near neighbors.

In April, 1852, Dwight issued the first number of _Dwight's Journal of Music_. He was able to do this with the aid of several of his associationist and musical friends, who generously contributed to a guarantee fund for the purpose. The Harvard Musical Association lent its aid to the project, and made it financially possible. In the first number Dwight said of his purposes and plans:

"Our motive for publishing a musical journal lies in the fact that music has made such rapid progress here within the last fifteen, and even the last ten, years. Boston has been without such a paper, and Boston has thousands of young people who go regularly to hear all the good performances of the best classic models in this art. Its rudiments are taught in all our schools....

"All this requires an organ, a regular bulletin of progress; something to represent the movement, and at the same time help to guide it to the true end. Very confused, crude, heterogeneous is this sudden musical activity in a young, utilitarian people. A thousand specious fashions too successfully dispute the place of true art in the favor of each little public. It needs a faithful, severe, friendly voice to point out steadfastly the models of the true, the ever beautiful, the divine.

"We dare not promise to be all this; but what we promise is, at least, an honest report, week by week, of what we hear and feel and in our poor way understand of this great world of music, together with what we receive through the ears and feeling and understanding of others, whom we trust; with every side-light from the other arts."

What was thus promised was carried out successfully, so far as the spirit and purpose were concerned, for more than thirty years. At first the _Journal of Music_ was an eight-page weekly, of about the size of _Harper's Weekly_. After a time it was issued fortnightly, and the number of pages was increased. Though small the _Journal of Music_ was varied in contents, and published much that was of great value. The selections from English, French, and German musical publications were well adapted to give music a higher position in American society. Many works of great value were translated for its pages; and whatever new or of importance was taking place or being said in the musical world was faithfully reported. The circulation was small at the best, for the high quality of the paper, and the refusal of the editor to make it an organ of the interests of publishers did not help to bring it widely before the public. Dwight would make no compromises with what was sensational or merely popular.

At the beginning of 1859 the _Journal of Music_ was put into the hands of Oliver Ditson & Co., who undertook its publication, paying Dwight a stated salary for his labors upon it. This arrangement relieved him of much drudgery as publisher, which he had hitherto undertaken. The conduct of the paper did not essentially change, but with each number was added a musical composition; the best works of Mendelssohn, Schubert, Wagner, Gluck, Mozart, and many other composers were thus issued. Dwight also did much translating for Ditson, turning into English the words which accompanied some of the best German music.

In July, 1860, Dwight went to Europe for purposes of travel and study. Shortly after his departure his wife was taken ill, and died in a few weeks. The blow nearly crushed him, and it took many months for him to recover himself. In a most sympathetic letter Dr. Holmes told him of the illness, and the scenes which followed:

"I listened to the sweet music which was sung over her as she lay, covered with flowers, in the pleasant parlor of her house, by the voices of those that loved her--I and my wife with me--and then we followed her to Mount Auburn, and saw her laid in the earth, and the blossoms showered down upon her with such tokens of affection and sorrow that the rough men, whose business makes them callous to common impressions, were moved as none of us ever saw them moved before. Our good James Clarke, as you know, conducted the simple service. It was one which none of us who were present will ever forget; and in every heart there was one feeling over all others, that for the far-distant husband, brother, friend, as yet unconscious of the bereavement he was too soon to learn."

Dwight spent a few days in England, was for a fortnight in Paris, went through Switzerland, and then on to Germany. He went to Frankfort, then to Bonn, where he was for some weeks. In Berlin some months were passed, and visits were made to Leipzig, Dresden, Munich, and other cities. He gave much attention to music, taking every opportunity of making himself better acquainted with its traditions and spirit. He then went to Italy, passed on to France, and reached England in July, 1861. Early in September he sailed on the trial trip of the _Great Eastern_, which encountered a fearful storm, and was nearly wrecked. Dwight landed on the Irish coast, made his way back to London, thought of remaining another year in Europe, but finally returned home in November.

In Dwight's absence the _Journal_ had been conducted by Henry Ware, a young musical friend. He now established himself in the Studio Building on Tremont Street, and went on with his tasks as usual. He became an active member of the Saturday Club, and was a constant attendant. He helped to organize, in 1863, the Jubilee Concert, at which Emerson read his "Boston Hymn." On the other hand, he severely criticised Gilmore's National Peace Jubilee of 1869.