Chapter III: The Literary Craftsman

‘I have left one bad rhyme ... to preserve my well known character in that respect,’ says Whittier in a letter to Fields, his publisher. The charge of laxity in rhymes was the one most often brought against him. He labored under two capital disadvantages; he was self-taught and he wrote always for a moral purpose. His objection to reprinting _Mogg Megone_ grew out of the feeling, not that it was bad poetry,--though he had no delusions about its artistic value,--but that it was not calculated to do good. Ethics, rather than art, were uppermost in his thought. There has never been question of his native power. He could be exquisitely felicitous, but, having acquired the habit of writing for a cause, of sacrificing nicety of phrase for vigor of thought and rapidity of utterance, being eager always to strike a blow at the critical moment, he found it difficult to write with a dominant artistic motive. He wrote better (technically speaking) the older he grew. It is difficult to realize as we listen to the rich strains of his later years that Whittier could have been as inharmonious as he often was in the first period of his poetic life. He confessed his defect. To Fields he once said: ‘It’s lucky that other folks’ ears are not so sensitive as thine.’

His variety of metres, if not great, was sufficiently ample to preclude the feeling of sameness. His verse never comes laden with scholarly suggestion in rhythm or thought, with the faint sweet echoes of old-time poetry, as does Longfellow’s. Whittier was not ‘literary,’ though he made a noble addition to the literature of his country.

Whittier’s prose has been ignored rather than underestimated. It is clear and forceful, often impassioned, and sometimes eloquent. Whether a reputation could be based on it is another matter. Certainly it has not been accorded the popular favor it deserves. Among a thousand readers, for example, who know _Snow-Bound_ there are possibly two or three who have read _Margaret Smith’s Journal_.

Of the seven prose sketches in _Legends of New England_ not one was thought by the author worth preserving. He also suppressed much of the contents of the two volumes published some fifteen years after the _Legends_. Both these later books, _The Stranger in Lowell_ and _The Supernaturalism of New England_, ought to be reprinted as they came first from Whittier’s hand.

_The Stranger in Lowell_, a volume of more or less related essays, is in part a record of impressions made on the author during a brief residence in the new manufacturing town by the Merrimac. The extraordinary growth of ‘The City of a Day’ was then, and is still, a legitimate cause for wonder. All the eighteen papers are readable, and that entitled ‘The Yankee Zincali’ is a little classic. Whittier’s next volume of prose, _The Supernaturalism of New England_, consists of nine chapters on witches, wizards, ghosts, apparitions, haunted houses, charms, and the like. It is rather a wide survey of the subject, from the Indian powahs to the Irish Presbyterians who settled in New Hampshire in 1720, and brought with them, ‘among other strange matters, potatoes and fairies.’ Whittier dwells on these traditions of his country with deep interest and sets them forth with no little humor. It is a fault of the book that he does not dwell on them at greater length.

_Leaves from Margaret Smith’s Journal_ is an admirable study of colonial New England in 1678. The style is sweet, the narrative flowing, the characters, many of them historical, are consistent and lifelike, and the tone of delicate irony running through the book is most engaging. Genuinely illuminating to the student of manners are such passages in the journal as those describing the ordination of Mr. Brock at Reading, the meeting at the inn with a son of Mr. Increase Mather, ‘a pert talkative lad’ abounding in anecdotes of the miraculous, the antics of Mr. Corbet’s negro boy Sam, and the encounter on the way back to Boston with the good old deacon under the influence of flip. A strong and engrossing plot might have made the book more popular, as it might also have been inconsistent with the artlessness of what purports to be a young girl’s journal.

_Old Portraits and Modern Sketches_ is a volume of character studies of ancient worthies (such as Bunyan, Ellwood, Baxter, Marvell) and of two or three moderns (like William Leggett, to whom Whittier pays a generous tribute). _Literary Recreations and Miscellanies_ consists of a reprint of material used in earlier books, together with a group of reviews and other papers.