Chapter 20

Poe had made himself popular in Richmond, people had become interested in him, and his death cast a universal gloom over the city. His old friends, and even those more recently formed, and whom he had strangely attached to himself, deeply regretted him. Mr. Sully came to consult with me about a picture of _The Raven_ which he intended to make; and in the course of the conversation expressed himself in regard to his lost friend with a warmth of feeling and appreciation not usual to him. The two had been schoolmates; and the artist said: "Poe was one of the most warm-hearted and generous of men. In his youth and prosperity, when admired and looked up to by all his companions, he invariably stood by me and took my part. I was a dull boy at learning, and Edgar never grudged time or pains in assisting me." In further speaking, he said, with a decision and earnestness which impressed me, "It was Mr. Allan's cruelty in casting him upon the world, a beggar, which ruined Poe. Some who had envied him took advantage of his change of fortune to slight and insult him. He was sensitive and proud, and felt the change keenly. It was this which embittered him. By nature no person was less inclined to reserve or bitterness, and as a boy he was frank and generous to a fault." In speaking of his poems, Mr. Sully remarked: "He has an eye for dramatic, but not for scenic or artistic effect. Except in _The Raven_, I can nowhere in his poems find a subject for a picture."

In closing these reminiscences, I may be allowed to make a few remarks founded upon my actual personal knowledge of Poe, in at least the phase of character in which he appeared to me. What he may have been to his ordinary associates, or to the world at large, I do not know; and in the picture presented to us by Dr. Griswold,--half maniac, half demon,--I confess, I cannot recognize a trait of the gentle, grateful, warm-hearted man whom I saw amid his friends,--his careworn face all aglow with generous feeling in the kindness and appreciation to which he was so little accustomed. His faults were sufficiently apparent; but for these a more than ordinary allowance should be made, in consideration of the unfavorable influences surrounding him from his very birth. He was ever the sport of an adverse fortune. Born in penury, reared in affluence, treated at one time with pernicious indulgence and then literally turned into the streets, a beggar and an outcast, deserted by those who had formerly courted him, maliciously calumniated, smarting always under a sense of wrong and injustice,--what wonder that his bright, warm, and naturally generous and genial nature should have become embittered? What wonder that his keenly sensitive and susceptible poetic temperament should have become jarred, out of tune, and into harsh discord with himself and mankind? Let the just and the generous pause before they judge; and upon their lips the breath of condemnation will soften into a sigh of sympathy and regret.

LX

ARTEMUS WARD

Poor Artemus! says Haweis in his lecture on the American humorist, I shall not see his like again, as he appeared for a few short weeks before an English audience at the Egyptian Hall, Piccadilly.

Sometimes, as to looks, profoundly dejected, at others shy or reproachful; nervously anxious to please (apparently), yet with a certain twinkle at the back of his eye which convinced you of his perfect _sang froid_, and one thing always--full, unescapably full, of fun....

When Artemus arrived here in 1866 he was a dying man.

I can see him now, as he came on the narrow platform in front of his inferior panorama, and stole a glance at the densely packed room and then at his panorama.

His tall, gaunt, though slender figure, his curly light hair and large aquiline nose, which always reminded me of a macaw; his thin face flushed with consumption, his little cough, which seemed to shake him to pieces, and which he said "was wearing him out," at which we all laughed irresistibly, and then felt ashamed of ourselves, as well we might; but he himself seemed to enjoy his cough. It was all part of that odd, topsy-turvy mind in which everything appeared most natural upside down!

On first entering he would seem profoundly unconscious that anything was expected of him, but after looking at the audience, then at his own clothes, and then apologetically at his panorama, he began to explain its merits.

The fact is Artemus intended having the finest scenes that could be painted, but he gave that up on account of the expense, and then determined to get the worst as the next best thing for his purpose.

When anything very bad came up he would pause and gaze admiringly at the canvas, and then look round a little reproachfully at the company.

"This picture," he would say, "is a great work of art; it is an oil painting done in petroleum. It is by the Old Masters. It was the last thing they did before dying. They did this, and then they expired. I wish you were nearer to it so you could see it better. I wish I could take it to your residences and let you see it by daylight. Some of the greatest artists in London come here every morning before daylight with lanterns to look at it. They say they never saw anything like it before, and they hope they never shall again!"

Certain curious brown splotches appearing in the foreground, Artemus pointed gravely to them, and said:

"These are intended for horses; I know they are, because the artist told me so. After two years, he came to me one morning and said, 'Mr. Ward, I cannot conceal it from you any longer; they are horses.'"

Apropos of nothing he observed:

"I really don't care for money; I only travel around to show my clothes."

This was a favorite joke of his. He would look with a piteous expression of discomfort and almost misery at his black trousers and swallowtail coat, a costume in which he said he was always most wretched.

"These clothes I have on," he continued, "were a great success in America." And then quite irrelevantly and rather hastily, "How often do large fortunes ruin young men! I should like to be ruined, but I can get on very well as I am!"

So the lecture dribbled on with little fragments of impertinent biography, mere pegs for slender witticisms like this:

"When quite a child I used to draw on wood. I drew a small cartload of raw material over a wooden bridge, the people of the village noticed me, I drew their attention, they said I had a future before me; up to that time I had an idea it was behind me."

Or this:

"I became a man. I have always been mixed up with art. I have an uncle who takes photographs, and I have a servant who takes anything he can set his hands on."

With one more example from his life among the Mormons, which, perhaps, though brief, includes a greater variety of wit and humor than any single passage I could select, I must conclude my memorial glimpses of this incomparable and lamented humorist.

"I regret to say that efforts were made to make a Mormon of me while I was in Utah.

"It was leap year when I was there, and seventeen young widows--the wives of a deceased Mormon (he died by request)--offered me their hearts and hands. I called upon them one day, and taking their soft, white hands in mine--which made eighteen hands altogether--I found them in tears. And I said 'Why is this thus?--what is the reason of this thusness?'

"They hove a sigh--seventeen sighs of different size. They said--

"'Oh, soon thou wilt be gonested away!'

"I told them that when I got ready to leave a place I usually wentested. They said--'Doth not like us?'

"I said, 'I doth, I doth!' I also said, 'I hope your intentions are honorable, as I am a lone child and my parents are far, far away!'

"They then said, 'Wilt not marry us?'

"I said, 'Oh no, it cannot was.'

"Again they asked me to marry them, and again I declined. When they cried--

"'Oh, cruel man: this is too much--oh, too much!'

"I told them it was on account of the muchness that I declined."

LXI

EDMUND GOSSE VISITS WHITTIER

In December of 1884, Mr. Edmund Gosse, one of the most distinguished of English critics, visited Whittier at a house called Oak Knoll, in Massachusetts, where he was then staying with friends. We quote brief extracts from a report of that visit as published in _Good Words_, an English magazine:

"Doubtless in leafy season Oak Knoll may have its charms, but it was distinctly sinister that December morning. We rang, and after a long pause the front door opened slightly, and a very unprepossessing dog emerged, and shut the door (if I may say so) behind him. We were face to face with this animal, which presented none of the features identified in one's mind with the idea of Mr. Whittier. It sniffed unpleasantly, but we spoke to it most blandly and it became assured that we were not tramps. The dog sat down, and looked at us; we had nowhere to sit down, but we looked at the dog. Then, after many blandishments, but feeling very uncomfortable, I ventured to hold the dog in conversation while I rang again. After another pause the door was slightly opened, and a voice of no agreeable timbre asked what we wanted. We explained, across the dog, that we had come by appointment to see Mr. Whittier. The door was closed a second time, and, if our carriage had still been waiting, we should certainly have driven back to Danvers. But at length a hard-featured woman grudgingly admitted us, and showed us, growling as she did it, into a parlor.

"Our troubles were then over, for Mr. Whittier, himself appeared, with all that report had ever told of a gentle sweetness and dignified cordial courtesy. He was then seventy-seven years old, and, although he spoke of age and feebleness, he showed few signs of either; he was, in fact, to live eight years more. Perhaps because the room was low, he seemed surprisingly tall; he must, in fact, have been a little less than six feet high. The peculiarity of his face rested in the extraordinary large and luminous black eyes, set in black eyebrows, and fringed with thick black eye-lashes curiously curved inward....

"His generosity to those much younger and less gifted than himself is well known, and I shall not dwell on the good-natured things which he proceeded to say to his English visitor. He made no profession, at any time, of being a critic, and his formula was that such and such verse or prose had given him pleasure--'I am grateful to thee for all that enjoyment' was his charming way of being kind.... He spoke with great emotion of Emerson--'the noblest human being I have known,' and of Longfellow, 'perhaps the sweetest. But you will see Holmes,' he added. I said that it was my great privilege to be seeing Dr. Holmes every day, and that the night before he had sent all sorts of affectionate messages by me to Mr. Whittier. The latter expressed great curiosity to see Holmes's short _Life of Emerson_ which, in fact, was published five or six days later.... Mr. Whittier greatly surprised me by confessing that he was quite color-blind. He exemplified his condition by saying that if I came to Amesbury I should be scandalized by one of his carpets. It appeared that he was never permitted, by the guardian goddess of his hearth, to go 'shopping' for himself, but that once, being in Boston, and needing a carpet, he had ventured to go to a store and buy what he thought to be a very nice, quiet article, precisely suited to adorn a Quaker home. When it arrived at Amesbury there was a universal shout of horror, for what had struck Mr. Whittier as a particularly soft combination of browns and grays proved, to normal eyes, to be a loud pattern of bright red roses on a field of the crudest cabbage-green."

LXII

PERSONAL RECOLLECTIONS OF WHITTIER

In the _New England Magazine_ Charlotte Forten Grimke writes entertainingly of Whittier. From this article we are permitted to quote the following extracts:

"And so it happened that, one lovely summer day, my friend and I found ourselves on the train, rapidly whirling eastward, through the pleasant old town of Newburyport, across the 'shining Merrimac,' on our way to the poet's home in Amesbury. Arriving at the station, we found Mr. Whittier awaiting us, and a walk of a few minutes brought us to his house on Friend Street. Amesbury, a busy manufacturing town, pleasantly situated on the Merrimac, impressed me at first as hardly retired enough for a poet's home; for fresh in my recollection were Longfellow's historic house, guarded by stately poplars, standing back from the quiet Cambridge street, and Lowell's old mansion, completely buried in its noble elms; and each of these had quite realized my ideal of the home of a poet. But the little house looked very quiet and homelike; and when we entered it and received the warm welcome of the poet's sister, we felt, as all felt who entered that hospitable door, the very spirit of peace descending upon us. The house was then white (it was afterwards painted a pale yellow), with green blinds, and a little vine-wreathed piazza on one side, upon which opened the glass door of 'the garden room,' the poet's favorite sitting-room and study. The windows of this room looked out upon a pleasant, old-fashioned garden. The walls on both sides of the fireplace were covered with books. The other walls were hung with pictures, among which we noticed 'The Barefoot Boy,' a painting of Mr. Whittier's birthplace in Haverhill, a copy of that lovely picture, 'The Motherless,' under which were written some exquisite lines by Mrs. Stowe, and a beautiful little sea-view, painted by a friend of the poet. Vases of fresh, bright flowers stood upon the mantelpiece. After we had rested we went into the little parlor, where hung the portrait of the loved and cherished mother, who some years before had passed away to the 'Better Land.' Hers was one of those sweet, aged faces which one often sees among the Friends,--full of repose, breathing a benediction upon all around. There were other pictures and books, and upon a table in the corner stood Rogers' 'Wounded Scout.'

"At the head of the staircase hung a great cluster of pansies, purple and white and gold. Mr. Whittier called our attention to their wonderful resemblance to human faces,--a resemblance which we so often see in pansies, and which was brought out with really startling distinctness in this picture.

"In the cool, pleasant chamber assigned to us, pervaded by an air of Quaker serenity and purity, was a large painting of the poet in his youth. This was the realization of my girlish dreams. There were the clustering curls, the brilliant dark eyes, the firm, resolute mouth. He looked like a youthful Bayard, 'without fear and without reproach,' ready to throw himself unflinchingly into the most stirring scenes of the battle of life.

"We were at once greatly interested in Miss Whittier, and impressed by the simplicity and kindness of her manner. We saw the soul's beauty shining in her soft, dark eyes, and in the smile which, like her brother's, was very winning, and we felt it in the music, of her gentle voice and the warm pressure of her hand. There was a refreshing atmosphere of unworldliness about her. She had rarely been away from her home, and although her brother's fame obliged her to receive many strangers, she had never, as she told us, been able to overcome a shyness of disposition, except in the case of a very few friends. She was naturally witty and original, and when she did shake off her shyness, had a childlike way of saying bright things which was very charming. She and her brother had lived together, alone since their mother's death, and in their mutual devotion have been well compared to Charles Lamb and his sister.

"We spent a delightful evening in the garden-room in quiet, cheerful talk. In society Mr. Whittier had the reputation of being very shy, and he was so among strangers; but at times, in the companionship of his friends, no one could be more genial. He had even a boyish frankness of manner, a natural love of fun, a keen appreciation of the humorous, which the sorrows and poor health of many years failed to subdue. That night he talked to us freely of his childhood, of the life on the old farm in Haverhill, which he has so vividly described in _Snow-Bound_, and showed us a venerable book, _Davideis_, being a history of David written in rhyme, the quaintest and most amusing rhyme, by Thomas Ellwood, a friend of Milton. It was the first book of 'poetry,' he told us, that he read when a boy. He entertained us with stories of people who came to see him. He had many very interesting and charming visitors, of course, but there were also many exceedingly queer ones, and these, he said with a queer smile, generally 'brought their carpet bags!' He said he was thankful to live in such a place as Amesbury, where people did not speak to him about his poems, nor think of him as a poet. Sometimes he had amused himself by tracking the most persistent of the lion-hunters, and found that the same individuals went to Emerson and Longfellow and other authors, and made precisely the same speeches. Emerson was not much annoyed by them; he enjoyed studying character in all its phases.

"Begging letters and begging visits were also very frequent, and his sister told us that her brother had frequently been victimized in his desire to help those whose pitiful stories he believed. One day he received a letter from a man in a neighboring town, asking him for a loan of ten dollars, and assuring him that he should blow his brains out if Mr. Whittier did not send him the money. The tone of the letter made him doubt the sincerity of the writer, and he did not send the money, comforting himself, he said, with the thought that the man really had no brains to blow out. 'I must confess, however,' he added, 'I looked rather anxiously at the newspapers for the next few days, but seeing no news of a suicide in the neighboring town, I was relieved.'

"His sister once told us of an incident which occurred during the war, which pleased them very much. One night, at a late hour, the door-bell rang, and her brother, on answering it, found a young man in an officer's uniform standing at the door. 'Is this Mr. Whittier?' he asked. 'Yes.' 'Well, sir,' was the quick reply, 'I only wanted to have the pleasure of shaking hands with you.' And with that he seized the poet's hand, shook it warmly, and rushed away, before Mr. Whittier had recovered from his surprise.

"In subsequent visits to Mr. Whittier, he was sometimes induced to talk about his poems, although that was a subject on which he rarely spoke. On my friend's once warmly praising _Maud Muller_, he said decidedly that he did not like the poem, because it was too sad; it ministered to the spirit of unrest and dissatisfaction which was only too prevalent. With _My Psalm_ he felt much better satisfied, because it was more hopeful. His favorite poets were Wordsworth and Burns. He once showed us an autograph letter of Burns, which he prized very highly, and a number of beautiful photographs of Scotch scenery, the gift of a sturdy old Scotchman, a neighbor of his and also an ardent, admirer of Burns.

"Our conversation occasionally touched on the subject of marriage, and I remember his asking us if we could imagine why there should be so much unhappiness among married people, even among those who seemed to have everything calculated to make them happy, and who really loved each other. He said he had pondered over the subject a good deal, and had finally concluded that it was because they saw too much of each other. He did not believe it was well for any two human beings to have too much of each other's society. We told him that, being a much-to-be-commiserated bachelor, he was not competent authority on that subject.

"Among the most intimate of his friends were Mr. and Mrs. James T. Fields, Colonel Higginson, Charles Sumner, and Bayard Taylor. To the two latter, and also to Emerson, he has alluded very beautifully in one of his most characteristic poems, _The Last Walk in Autumn_.

"On visiting the poet after my return from the South, for a vacation, I found a new inmate of the house, a gray and scarlet parrot, named Charlie, a great pet of the poet and his sister, and far-famed for his wit and wisdom. He could say many things with great distinctness, and although at first refusing rather spitefully to make my acquaintance, when I invited him to come into the kitchen and get his supper he at once hopped upon my hand and behaved in the most amicable manner. It was very comical to see him dance to a tune of Mr. Whittier's whistling. His master told us that he would climb toilsomely up the spout, pausing at every step or two to say, in a tone of the deepest self-pity, 'Poor Charlie!' and when he reached the roof screaming impertinently at the passers-by. The Irish children said that he called them 'Paddies,' and threatened him with dire vengeance. Mr. Whittier said he did not know; he 'could believe anything of that bird.' Charlie's favorite amusement was shaking the unripe pears from the trees in the garden; and when he saw Miss Whittier approaching, he would steal away with drooping head, like a child caught in a naughty action. This gifted bird afterwards died, and was much missed by the poet, who alluded to him in the poem entitled _The Common Question_.

"Mr. Whittier showed me a couple of stuffed birds which had been sent to him by the Emperor of Brazil, after reading his _Cry of a Lost Soul_, in allusion to the bird in South American forests which has so intensely mournful a note that the Indians give it a name which signifies a lost soul. The first birds which were sent did not reach him, and the Emperor on hearing it sent two more. The bird is larger than a mocking bird, and has sober gray plumage, very unlike the bright-hued creatures usually seen in tropical forests.

"The Emperor was a warm admirer of Mr. Whittier, and one of the first persons for whom he inquired on reaching Boston was the poet. There was some delay about their meeting and Dom Pedro became very impatient. At last they met in a house in Boston. Dom Pedro expressed great delight at meeting the poet, and talked with him a long time, paying very little attention to any one else. On leaving, he asked Mr. Whittier to accompany him downstairs, and before entering his carriage threw his arms around the astonished poet and embraced him warmly.

"Rare and beautiful were the qualities which met in Mr. Whittier: a singularly unworldly and sweet disposition, and unwavering love of truth and justice, a keen sense of humor, the highest type of courage, and a firm faith in God's goodness, which no amount of suffering ever shook. For years he was an invalid, a martyr to severe headaches. He once told me that he had not for a long time written anything without suffering. The nearest and dearest of his earthly ties had been severed by death. But he never rebelled. His life exemplified the spirit of resignation which is breathed throughout so many of his poems.

All as God wills, who wisely heeds To give or to withhold, And knoweth more of all my needs Than all my prayers have told.