Chapter 21

"My husband and I made our last visit to him two years ago, at Oak Knoll. He gave us his customary warm greeting and, although in extremely feeble health, was as sweet and genial in spirit and as entertaining in conversation as ever. He took us into his cosey little library, and talked about his books and pictures and old friends, and promised to send us his latest photograph,--which he afterwards did. Fearing to weary him, we stayed but a short time. So frail he looked, that in parting from him our hearts were saddened by the thought that we might not look upon that dear face again. And so it proved. I shall ever remember him as I saw him then, in his beautiful country home, surrounded by devoted friends, awaiting calmly the summons to enter into rest--in that serene and lovely old age which comes only to those gifted ones whose lives are the embodiment of all that is noblest and best and sweetest in their poetry.

"Farewell, beloved, revered friend! Thou art gone to join the loved ones who beckoned to thee from those blessed shores of Peace. To thee, how great the gain! To us, how infinite the loss! But thy influence shall remain with us. Still shalt thou

... be to other souls The cup of strength in some great agony, Enkindle generous ardor, feed pure love, Beget the smiles that have no cruelty-- Be the sweet presence of a good diffused, And in diffusion ever more intense.

LXIII

HENRY WARD BEECHER

It would be no compliment to call Henry Ward Beecher the American Spurgeon. He may be that, but he is more. If we can imagine Mr. Spurgeon and Mr. John Bright with a cautious touch of Professor Maurice and a strong tincture of the late F.W. Robertson--if, I say, it is possible to imagine such a compound being brought up in New England and at last securely fixed in a New York pulpit, we shall get a product not unlike Henry Ward Beecher....

Mr. Beecher was brought up in the country. His novel, _Norwood_--not very readable, by the way, although full of charming passages--abounds in woods and streams, hills and dales, and flowers. "The willows," he tells us somewhere, "had thrown off their silky catkins, and were in leaf; the elm was covered with chocolate-colored blossoms, the soft maple drew bees to its crimson tassels." Would that all preachers and writers used no more offensive and superfluous flowers of speech than such as these....

When he wants to illustrate the comfort of a powerful, unseen, though protective love, he tells us how, as a boy, he woke up one midsummer night and listened, with a sense of half-uneasy awe, to the wild cry of the marsh birds, whilst the moonlight streamed full into his room; and then, as he grew more and more disturbed, he suddenly heard his father clear his throat "a-hem," in the next room, and instantly that familiar sound restored his equanimity. The illustration is simple, but it hits the mark and goes home. His affectionate tributes to his father and mother are constantly breaking forth in spite of himself. "I thank God," he says, "for two things. First, that I was born and bred in the country, of parents that gave me a sound constitution and a noble example. I never can pay back what I got from my parents. Next I am thankful that I was brought up in circumstances where I never became acquainted with wickedness." How delightful it is to think of a man who, without a taint of conscious insincerity, but simply out of the fulness of his heart, can get up before four thousand people, and say:

"I never was sullied in act, nor in thought when I was young. I grew up as pure as a woman. And I cannot express to God the thanks which I owe to my mother, and to my father, and to the great household of sisters and brothers among whom I lived. And the secondary knowledge of those wicked things which I have gained in later life in a professional way, I gained under such guards that it was not harmful to me." ...

He has a wonderful way of importing his leisure hours into the pulpit, and making the great cooped-up multitude feel something of the joy and freshness of his own exhilaration. One golden day above others seems to have dwelt in his mind. He refers to it again and again.

"When I walked one day on the top of Mt. Washington--glorious day of memory! Such another day I think I shall not experience till I stand on the battlements of the New Jerusalem--how I was discharged of all imperfections; the wide far-spreading country which lay beneath me in beauteous light, how heavenly it looked, and I communed with God. I had sweet tokens that he loved me. My very being rose right up into his nature. I walked with him, and the cities far and near of New York, and all the cities and villages which lay between it and me, with their thunder, the wrangling of human passions below me, were to me as if they were not."

Some of his sermons are full of vacation-rambles. He passes through woods and gardens and plucks flowers and fragrant leaves, which will all have to do service in Brooklyn Church; he watches the crowded flight of pigeons from the treetops, and thinks of men's riches that so make themselves wings and fly away. As he scales the mountains and sees the summer storms sweep through the valleys beneath him, he thinks of the storms in the human heart--"many, many storms there are that lie low and hug the ground, and the way to escape them is to go up the mountain sides and get higher than they are."

Mr. Beecher's travels in Europe were not thrown away upon his ardent and artistic temperament. He has stood before the great pictures to some purpose, and has not failed to read their open secret.

"Have you ever stood in Dresden to watch that matchless picture of Raphael's, the 'Madonna di San Siste'? Engravings of it are all through the world; but no engraving has ever reproduced the mother's face. The Infant Christ that she holds is far more nearly represented than the mother. In her face there is a mist. It is wonder, it is love, it is adoration, it is awe--it is all these mingled, as if she held in her hands her babe, and yet it was God! That picture means nothing to me as it does to the Roman Church; but it means everything to me, because I believe that every mother should love the God that is in her child, and that every mother's heart should be watching to discern and see in the child, which is more than flesh and blood, something that takes hold of immortality and glory."

--Selected from the _Contemporary Review_.

LXIV

THE LONDON "TIMES" ON LOWELL

The London _Times_, sometimes nicknamed the _Thunderer_, was for many years the most influential paper in the world. Emerson in his _English Traits_ says, "No power in England is more felt, more feared, or more obeyed." In view of the high position of this paper it is a matter of interest to our American students of literature to read what this paper had to say on the death of Lowell.

Here follows the larger part of the editorial from the _Times_:

The death of Mr. Lowell will probably be more keenly and widely felt in England than would be that of any other American, or, indeed, of any other man who was not a fellow-countryman of our own. To very many in England it will be counted as a grave personal loss; and thousands more will miss in him one whom through his writings they had admired, felt with, laughed with, as with a friend. For a long time past, in fact ever since he quitted the Legation, his long annual visits to London have been regarded by a wide circle as one of the events of the year, and he himself as one of the most valued guests. We had hoped that this last June would again see him in his old London haunts, bright, genial, interesting as ever; but a cruel fate decided that this was not to be, and neither the Old World nor the New should know him more. Never a strong man, he has succumbed, at a ripe age, it is true, but prematurely, as all will think who knew how fresh his intelligence and his sympathies were to the last. With him there passes away one of the very few Americans who were the equals of any son of the Old World--of any Frenchman or any Englishman--in that indefinable mixture of qualities, which we sum up for want of a better word, under the name of culture. How did he arrive at it? The answer is, by natural gifts, by constant play of mind with mind in talk, and by reading. On those who casually met Mr. Lowell in society, he certainly did not make the impression of a book-worm, or of a man to whom books were indispensable; but none the less is it true that whenever official business was not too heavy, he invariably read for a _minimum_ of four hours a day. This did not include the time that he gave to ephemeral literature; it was the time that he spent in the serious reading of books, generally old books. How many of us, not professed students, can show a record as good, or half as good? He read quickly, too, in various languages, his favorites being the English of the Elizabethans, Spanish, old French, and modern French. His excellent memory and wonderful assimilative power built up this reading into the mental endowments that all the world admired.

When Mr. Lowell came to England as the representative of the United States under the last Republican administration, London felt a sympathetic curiosity as to the author of the famous _Biglow Papers_ and of so much excellent prose criticism. In a very short time the feeling warmed into admiration and friendship. The official world spoke well of the way in which the new minister performed his duties--generally not very heavy, but always demanding tact and prudence--of his position as minister. Menacing sounds, indeed, began to be heard from across the ocean, when the Irish Fenians, who control so much of the press of the United States, began to raise the cry that Mr. Lowell sacrificed the interests of their dynamitard friends to a brutal British government; but, as the Washington officials took no notice, nobody here paid much attention to the matter. In social life, the new minister began to be a power. He went everywhere--to the houses of the great, to the houses of the men of letters, and to places where such people most do congregate. His talk was excellent give-and-take. He was neither a professional anecdotist, like another famous American talker, Mr. Chauncey Depew, nor a man on the watch for something to disagree with, like Mr. Blaine, nor even, as was his admirable successor, Mr. Phelps, a man of long silences broken by flashes of humor. Mr. Lowell seemed to know everything and have his knowledge always to hand; he was quick in repartee; he mixed anecdote with reflection in the happiest manner; he laughed at others' jests, and they laughed at his. Still, one had to be a little careful with him, for there were points on which he was extremely sensitive. Nobody, for example, must talk in his presence of _Americanisms_, or hint that the standard of language and literature observed in America showed any deflection from the best standard of the race....

On one occasion Mr. Lowell was sorely tempted to make his permanent home here. Just about the time of his ceasing to be minister, he was seriously sounded as to his willingness to be nominated to the new post of professor of English language and literature at Oxford. Had he consented to stand, not even a board determined to sink literature in philology could have passed over his claims. But he declined, for two reasons. There were claims of family, over in Massachusetts, and, greatly as he loved the mental atmosphere of England, he thought it his duty not to accept a definitely English post. And the sense of duty is strong in that old Puritan stock from which he sprang.

... But the distinguishing feature of Mr. Lowell was his adding to these high literary gifts the strong practical side which made of him a social power and a diplomatist. Naturally, such a man made a mark by his speeches, and happy was the audience, at the unveiling of a monument or at a literary dinner, that had the privilege of listening to Mr. Lowell. Seldom in England, where this kind of speaking is not cultivated as an art, have we witnessed such a perfect union of self-possession, sense, and salt. The speech on Henry Fielding, the speech in which he compared the sound of London to "the roaring loom of time," the address on Democracy--to mention but a few--will not be easily forgotten. Nor will those who had the privilege of experiencing it, in however slight a degree, forget the sweet affectionateness which, in spite of an occasional irritability and over-sensitiveness, was at the root of Mr. Lowell's character. Corrupt politicians disliked him and feared the barbed arrows of his indignant wit; but he goes to the grave mourned by all that is best in America, and he takes with him the heart-felt regard as well as the admiration, of this elder branch of our common English race.

LXV

THE WRITING OF "AMERICA"

The Rev. Dr. Samuel F. Smith, author of _America_, died in Boston in 1895. On April 3, of the same year, he had received a grand public testimonial in Music Hall in recognition of his authorship of _America_. In the souvenir of that occasion Dr. Smith tells how he came to write the poem that made him famous.

"In the year 1831 William C. Woodbridge, of New York, a noted educator, was deputed to visit Germany and inspect the system of the public schools, that if he should find in them any features of interest unknown to our public schools here they might be adopted in the schools of the United States. He found that in the German schools much attention was given to music; he also found many books containing music and songs for children. Returning home, he brought several of these music-books, and placed them in the hands of Mr. Lowell Mason, then a noted composer, organist, and choir leader. Having himself no knowledge of the German language he brought them to me at Andover, where I was then studying theology, requesting me, as I should find time, to furnish him translations of the German words, or to write new hymns and songs adapted to the German music.

"On a dismal day in February, 1832, looking over one of these books, my attention was drawn to a tune which attracted me by its simple and natural movement and its fitness for children's choirs. Glancing at the German words at the foot of the page, I saw that they were patriotic, and I was instantly inspired to write a patriotic hymn of my own.

"Seizing a scrap of waste paper, I began to write, and in half an hour I think the words stood upon it substantially as they are sung to-day. I did not know at the time that the tune was the British _God Save the King_. I do not share the regrets of those who deem it an evil that the national tune of Britain and America is the same. On the contrary, I deem it a new and beautiful tie of union between the mother and the daughter, one furnishing the music (if, indeed, it is really English), and the other the words.

"I did not propose to write a national hymn. I did not think that I had done so. I laid the song aside, and nearly forgot that I had made it. Some weeks later I sent it to Mr. Mason, and on the following Fourth of July, much to my surprise, he brought it out at a children's celebration in the Park Street Church, in Boston, where it was first sung in public."

LXVI

ELIZABETH STUART PHELPS AND HER FIRST STORY

Some years ago the author of _Gates Ajar_ told in an American magazine how she began her literary career. From this account we quote:

"The town of Lawrence was three miles and a half from Andover. Up to the year 1860 we had considered Lawrence chiefly in the light of a place to drive to.... Upon the map of our young fancy the great mills were sketched in lightly; we looked up from the restaurant ice-cream to see the hands pour out for dinner, a dark and restless, but a patient, throng, used in those days, to standing eleven hours and quarter--women and girls--at their looms, six days of the week, and making no audible complaints; for socialism had not reached Lawrence, and anarchy was content to bray in distant parts of the geography at which the factory people had not arrived when they left school....

"...One January evening, we were forced to think about the mills with curdling horror that no one living in that locality when the tragedy happened will forget.

"At five o'clock the Pemberton Mills, all hands being at the time on duty, without a tremor of warning, sank to the ground.

"At the erection of the factory a pillar with a defective core had passed careless inspectors. In technical language the core had 'floated' an eighth of an inch from its position. The weak spot in the too thin wall of the pillar had bided its time, and yielded. The roof, the walls, the machinery fell upon seven hundred and fifty living men and women, and buried them. Most of these were rescued, but eighty-eight were killed. As the night came on, those watchers on Andover Hill who could not join the rescuing parties, saw a strange and fearful light at the north.

"Where we were used to watching the beautiful belt of the lighted mills blaze--a zone of laughing fire from east to west, upon the horizon bar--a red and awful glare went up. The mill had taken fire. A lantern, overturned in the hands of a man who was groping to save an imprisoned life, had flashed to the cotton, or the wool, or the oil with which the ruins were saturated. One of the historic conflagrations of New England resulted.

"With blanching cheeks we listened to the whispers that told us how the mill-girls, caught in the ruins beyond hope of escape, began to sing. They were used to singing, poor things, at their looms--mill-girls always are--and their young souls took courage from the familiar sound of one another's voices. They sang the hymns and songs which they had learned in the schools and churches. No classical strains, no 'music for music's sake,' ascended from that furnace; no ditty of love or frolic, but the plain, religious outcries of the people: _Heaven is my Home_, _Jesus, Lover of my Soul_, and _Shall we Gather at the River?_ Voice after voice dropped. The fire raced on. A few brave girls still sang:

Shall we gather at the river, There to walk and worship ever?

"But the startled Merrimac rolled by, red as blood beneath the glare of the burning mills, and it was left to the fire and the river to finish the chorus.

"At the time this tragedy occurred, I felt my share of its horror, like other people; but no more than that. My brother, being of the privileged sex, was sent over to see the scene, but I was not allowed to go.

"Years after, I cannot say just how many, the half-effaced negative came back to form under the chemical of some new perception of the significance of human tragedy.

"It occurred to me to use the event as the basis of a story. To this end I set forth to study the subject. I had heard nothing in those days about 'material,' and conscience in the use of it, and little enough about art. We did not talk about realism then. Of critical phraseology I knew nothing, and of critical standards only what I had observed by reading the best fiction. Poor novels and stories I did not read. I do not remember being forbidden them; but, by that parental art finer than denial, they were absent from my convenience.

"It needed no instruction in the canons of art, however, to teach me that to do a good thing, one must work hard for it. So I gave the best part of a month to the study of the Pemberton Mill tragedy, driving to Lawrence, and investigating every possible avenue of information left at that too long remove of time which might give the data. I visited the rebuilt mills, and studied the machinery. I consulted engineers and officials and physicians, newspaper men, and persons who had been in the mill at the time of its fall. I scoured the files of old local papers, and from these I took certain portions of names, actually involved in the catastrophe, though, of course, fictitiously used. When there was nothing left for me to learn on the subject, I came home and wrote a little story called "The Tenth of January,' and sent it to the _Atlantic Monthly_, where it appeared in due time.

"This story is of more interest to its author than it can possibly be now to any reader, because it distinctly marked for me the first recognition which I received from literary people."

LXVII

SIDNEY LANIER

Next to Poe, Sidney Lanier ranks as the foremost of the poets of the South. In character Lanier is one of the rarest and purest of souls. His life was so chaste, his ideals so high, his devotion to his art so unselfish that he has been called "the Sir Galahad among American poets." Dr. Gilman, who in his capacity as president of Johns Hopkins University had frequent opportunities to observe Lanier, who was an instructor in this institution, has made the following comment,--"The appearance of Lanier was striking. There was nothing eccentric or odd about him, but his words, manners, ways of speech, were distinguished. I have heard a lady say that if he took his place in a crowded horse-car, an exhilarating atmosphere seemed to be introduced by his breezy ways."

He was born in Georgia in 1842. After graduation from a small college in his native state and then serving as tutor for a short time, he entered the Confederate army. During his war experiences, whether in the field or in prison, he studied poetry and played the flute. These two arts were his passions for life. While yet in his college days he had acquired a fine reputation as a flute-player. At eighteen he was said to be the best flute-player in Georgia. One of his college friends at the time made record of his admiration in writing,--"Tutor Lanier is the finest flute-player you or I ever saw. It is perfectly splendid--his playing. He is far-famed for it. His flute cost fifty dollars, and he runs the notes as easily as any one on the piano."

The passionate love of his sensitive soul is revealed in this poetic description of a visit to the opera:

"I have just come in from the _Tempest_ at the Grand Opera House ... and my heart is so full.... In one interlude between the scenes we had a violin solo, adagio, with soft accompaniment by orchestra. As the fair tender notes came, they opened like flower-buds expanding into flowers under the sweet rain of the accompaniment. Kind heavens! My head fell on the seat in front, I was weighed down with great loves and great ideas and divine inflowings and devout outflowings, and as each note grew and budded, and became a bud again and died into a fresh birth in the next bud tone, I also lived these flower-tone lives, and grew and expanded, and folded back and died and was born again, and partook of the unfathomable mysteries of flowers and tones." And at another time he writes in the same vein,--"'Twas opening night of Theodore Thomas' orchestra at Central Park Garden, and I could not resist the temptation to go and bathe in the sweet amber seas of this fine orchestra, and so I went, and tugged me through a vast crowd, and, after standing some while, found a seat, and the baton waved, and I plunged into the sea, and lay and floated. Ah! the dear flutes and oboes and horns drifted me hither and thither, and the great violins and small violins swayed me upon waves, and overflowed me with strong lavations, and sprinkled glistening foam in my face, and in among the clarinetti, as among waving water-lilies with plexile stems, pushed my easy way, and so, even lying in the music waters, I floated and flowed, my soul utterly bent and prostrate." Who has ever written more expressively of that ecstasy that lays hold of the sensuous soul of the lover of fine music?