Digitized by the Internet Archive in 2008 with funding from Microsoft Corporation http://www.archive.org/details/alexanderwilsonp0Owilsuoft s ~ COMPLETION OF THE ORNITHOLOGY 105 thinks he sees an evil he bitterly denounces it in writing to his friends. His letter reads: “Nashville, May 1, 1810. “To Miss Sarah Miller: “My Dear Friend, Nine hundred miles distant from you sits Wilson, the hunter of birds’ nests and sparrows, just preparing to enter on a wilderness of 780 miles—most of it in the territory of Indians— alone but in good spirits, and expecting to have every pocket crammed with skins of new and ex- traordinary birds before he reach the City of New Orleans. I dare say you have long ago accused me of cruel forgetfulness in not writing as I promised, but that, I assure you, was not the cause. To have forgot my friends in the midst of strangers, and to have forgot you of all others, would have been im- possible. But I still waited until I should have something very interesting to amuse you with, and am obliged at last to take up the pen without having anything remarkable to tell you of. Yet I don’t know but a description of the fashions of Kentucky or Paris. What would you think of a blanket rid- ing dress, a straw side-saddle, and a large mule with ears so long that they might almost serve for would be almost as entertaining as that of London reins? I have seen many such fashionable figures in Kentucky. Or, what think you of a beau who had neither been washed nor shaved for a month, with three yards of coarse blue cloth wrapped around his legs by way of boots, a ragged great- coat, without coat, jacket or neckcloth, and breath- ing the rich perfume of corn whiskey? Such fig- 106 ALEXANDER WILSON: POET-NATURALIST ures are quite fashionable in Kentucky. This is a charming country for ladies. From the time they are first able to handle a cow skin, there is no amuse- ment they are so fond of as flogging their negroes and negro wenches. This they do with so much coolness and seeming satisfaction, that it really gives them an air of great dignity and manliness. The landlady of the tavern where I lodge is a great connoisseur at this sort of play; and while others apply their cow skins only to the back, she has dis- covered that the shins, elbows and knuckles are far more sensitive, and produce more agonizing screams and greater convulsions in the ‘black devils,’ as she calls them, than any other place. My heart sickens at such barbarous scenes, and, to amuse you, I will change to some more agreeable subject. “In passing from Lexington to Nashville—a dis- tance of 200 miles—I overtook on the road a man mending his stirrup-leathers, who walked around my horse several times and observed that I seemed to be armed. I told him I was well armed with gun and pistols, but I hoped he was not afraid to travel with me on that account, as I should be better able to assist in defending him as well as myself, if attacked. After understanding the nature of my business, he consented to go on with me, and this man furnished me with as much amusement as Strap did Roderick Random. He was a most zeal- ous Methodist, and sung hymns the first day almost perpetually. Finding that I should be obliged to bear with this, I got him to try some of them to good old song tunes, and I then joined with him, as : I = | - : ’ ui ; COMPLETION OF THE ORNITHOLOGY 107 we rode along, with great piety. I found one in his book that very nearly answered to Jones’ song of the ‘Vicar and Moses,’ and that soon became a favourite air with us. He labored with so much earnestness to make me a convert—preaching some- times with great vehemence—that I had no other resource on such occasions but to ride hard down hill, which, the preacher being unable to do, gener- ally broke the thread of his discourse. He was, however, very useful to me in taking charge of my horse while I went into the woods after strange birds, and got so attached to me that he waited two days for me in a place where I had some drawings to make. I stopped five days in the barrens of Ken- tucky, exploring that extraordinary country, in the house of a good Presbyterian, who charged me nothing, and would have kept me for a month for some lessons in drawing which I gave his two daughters. Here my psalm-singing Methodist left me. ‘These barrens are almost without wood, and the whole face of the ground seemed to be covered with blossomed strawberries. ‘They must grow in immense quantities here in the proper season. Great numbers of beautiful flowers that I have never seen before were seen in every direction, some of them extremely elegant. Many of the inhabi- tants keep their milk in caves 100 feet below the surface of the ground, and these caves extend so far under ground that they have never ventured to their extremities. Frightful stories are told of some tavern-keepers, who are suspected of de- stroying travelers and secreting their bodies in these caves. If I were not afraid of giving you 108 ALEXANDER WILSON: POET-NATURALIST the horrors, I would relate an adventure I had in one of the most frightful of these caves with the fellow to whom it belongs, and who is strongly suspected of being a murderer, even by his neigh- bours. ‘The town I am now in is the capital of the State of Tennessee, and is built on the top of a — rocky mountain above the Cumberland river, which is about as large as the Schuylkill, but much deeper. The people are now planting in their cotton fields, and it is curious to see the seeds lying like rags of tattered cotton along in the trenches. Apropos of rags, I have been obliged to throw a good many of mine overboard since I purchased a horse. My handkerchiefs are re- duced to three, and other articles in proportion. By the time I reach New Orleans, I expect to carry all the remainder on my back. My para- keet is my faithful companion yet, and I shall try hard to bring him home with me. He creeps into. my pocket when I ride, and when I alight he comes out to amuse the people where I stop. “Please present my respectful compliments to your mother and father, and don’t be offended at anything I have said. If I hear or see any ghosts or hobgoblins between this and Natchez, or any- thing worth telling, you may depend on hearing from me. Compliments to sister Jones &c., &c., and be- lieve me to be, yours affectionately, “ALEX WILSON ” wildest of countries to Natchez, passing on his From Nashville Wilson traveled through the cS Ne COMPLETION OF THE ORNITHOLOGY 109 way the grave of his old friend, Governor Meri- weather Lewis of the Lewis-Clark Expedition. The mystery of this distinguished man’s death has never been explained, there being many circum- stances which point to the probability of his hav- ing been killed and robbed by the man Grinder, at whose cabin he was stopping for the night. Wilson, however, does not mention this rumor, but seems to have accepted without hesitation the very improbable story of suicide which Mrs. Grinder herself related to him. ‘To show his re- spect for his dead friend, Wilson not only wrote verses to Lewis’s memory, but he also gave Grinder money, out of his own scanty store, to have the grave enclosed. After reaching Natchez and searching through- out the surrounding country for subscribers and new birds, Wilson traveled on through west Florida, New Orleans, east Florida, and many of the islands near the coast. On September 2, 1810, he again reached Philadelphia after having been traveling, sometimes in a boat, sometimes on horseback, but chiefly on foot, for seven con- tinuous months. While at Nashville our traveler met with a mis- fortune which he accepted and remedied with that dauntless spirit which had marked his whole life. He somewhat carelessly intrusted the drawings which he had made since leaving home to the mail, and they never reached their destination. The loss was of similar nature to that-which Au- dubon suffered in the destruction by mice of a I10 ALEXANDER WILSON: POET-NATURALIST large number of his colored sheets, but Wilson’s was fortunately nothing like so great. After his return from this trip through the inland to Florida, Wilson set vigorously to work preparing for the press the material which he had collected. The year 1811 and the earlier part of 1812 was spent in Philadelphia, where he stayed a great part of the time at the beautiful flower- embowered home of William Bartram. Busy as he was, he found time occasionally to write to Scotland and to send some part of his little in- come to his old father. Misfortunes seem to have been gathering across the water. Wilson wrote his brother David that his wish to “reach the glorious rock of independence” in order that from thence he might assist his “relatives who are struggling with and buffeting the billows of adver- sity” had led him on to his prodigious exertions. Later in the same year David joined him in America, bringing tidings of the loved ones and of their misfortunes, and Wilson took him with him to live. The third volume of the “Ornithology” ap- peared in the early part of 1811, and on July 9 of the same year Wilson wrote George Ord that the fourth volume was all finished, save the engrav- ing of two plates. It appeared a little later. The fifth and sixth volumes came from the press in 1812, and in the early part of the following year the seventh was published. Late in 1812 he made his last ornithological trip. This voyage led him up the Hudson, across the rough, rugged country to Lake Champlain, ee ee ee ee Ae Cn te A NARI: et NG A Lek HC i, Sp ND eee Wee ye eel panel pe Ss COMPLETION OF THE ORNITHOLOGY II! which he followed until he reached Burlington, Vermont; all the while he was adding copiously to his collection of birds. The country about the Connecticut River he tramped, gun in hand, visited again Dartmouth College and Boston, and passed through Portsmouth and Portland. At Haverhill his unusual habits of tramping the forests alone caused him to be arrested and im- prisoned as a Canadian spy, but on explanation he was soon released. His second visit to New England was rich in results, and greatly encour- aged he was soon at work again in Philadelphia. Here all was not going well, for in spite of the generous praise and thanks that he gave to all his co-workers, in his prefaces, especially the engrav- ers, Lawson, Murray, and Warnicke, some of them occasioned him no little trouble. Murray, he could no longer depend on, and all of his “col- ourists” left him, so that he had to do a great deal of extra work, and at this period his health was beginning to fail. At the same time, however, fortune was not altogether frowning on him. His books were beginning to bring him some fame, and he was elected a member of the Colum- bia Society of Fine Arts and of the Philosophical Society of Philadelphia. By the early part of July the eighth volume of the “Ornithology” was ready for the press, and Wilson was eagerly planning the last one, and outlining a work on American quadrupeds similar to the “Ornithology.” But already the strain of his work was telling upon him, and his constitu- tion began to weaken under it, yet like a true war- Ii2 ALEXANDER WILSON: POET-NATURALIST horse, he was to die “in harness.” While talking with a friend he saw a bird of a species which he especially desired to secure. He followed it across a river and finally obtained it, but only after he had become drenched with water. The cold which resulted from this chase brought on dysen- tery, a disease from which he had before suffered a great deal, and which in his weakened condition he was unable to withstand. He died after only a few days’ sickness at nine in the morning on the 23rd of August, 1813, in his 48th year. All the scientific men and clergy of Philadelphia united in paying their last respects to his memory, when he was buried in the yard of the Swedish Church on Water street, Philadelphia. A marble table-tomb above his grave bears for inscription: THIS MONUMENT covers the remains of ALEXANDER WILSON, Author of the American Ornithology. He was born in Renfrewshire, Scotland, on the 6th. July, 1766: Emigrated to the United States in the year 1794; ged 47. On the 23rd. August, 1813, of the dysentery, And died in Philadelphia, Ingeno stat sine morte decus. At the time of his death Wilson is said to have been engaged to Miss Sarah Miller, “daughter of a proprietor in the vicinity of Winterton.” He appointed her an executrix of his estate. The eighth volume of the “Ornithology,” which COMPLETION OF THE ORNITHOLOGY II3 was already in the press, was committed to the care of his friend, George Ord, who had been with Wilson on some of his expeditions. It appeared in January, 1814, and was followed in May by the last volume, which Ord also edited and to which he appended a life of Wilson. Ord wrote, partly from Wilson’s notes, the accompanying text to the ninth volume, but the plates had been colored under Wilson’s own superintendence. With a touch of the all-pervading sentiment which his somewhat taciturn Scotch nature often restrained him from expressing, Wilson had often given utterance to the wish that his grave might be where the birds would sing above him, and it was a cause of much regret, after this became known to his friends, that in the yard of the Swe- dish Church the wish seemed unfulfilled. - Alex- ander B. Grosart, however, tells us that “AI- though the Swedish Church is in a _ business- crowded district, I myself, on paying a pilgrim- visit to the grave, heard an oriole piping softly and sweetly within a few yards of it.” Over the tomb of Wilson there is now growing a graceful young willow, and in that far-away part of the city about Water street there is not much noise to dis- turb the quiet peace of the little grave-yard, which lies before the quaint old Swedes’ Church. Wilson’s life had been one of fierce strivings and bitter disappointments, and it ended in the midst of struggle. Not the faintest touch of sor- didness had stained it; but the forces which most went to shape it were love of science and of his 8 II4 ALEXANDER WILSON: POET-NATURALIST country and the alluring thirst for fame. If am- bition be a sin, then he had sinned deeply, for in company with great men and with angels he was possessed of this “last infirmity of noble minds.” We shall hardly blame him for this, for though there is an ambition of avarice and pride there is also an ambition of love and service. Even as it should be, the battles of his brave life ended in victory, and if he received not the palm in life, it was at least laid in death upon his tomb, and it was this after all that he most desired: that he might accomplish something by which posterity might know that he had lived. A pzan of praise and commendation of his work went up after his death; his “Ornithology” carried his fame over Europe and everywhere was hailed as a great achievement. ‘The Edinburgh Review commented on it with what for that staid publication may be called enthusiasm; the North American Review copied this notice; and article after article ap- peared in other magazines. In his own town of Paisley the house which had replaced his birth- place was marked with a memorial slab and a monument was erected to his honor. What Wilson’s final rank as a scientist shall be, must be left for the scientific world to decide, but it is safe to say it will be no insignificant one. Excluding the little work which William Bartram and Thomas Jefferson had done in ornithology, Wilson was the pioneer worker among the Ameri- can birds. Prince Charles Lucian Bonaparte, who corrected some of Wilson’s mistakes of nomenclature, declared that it was a most extra- . aS SS ae ‘ / a COMPLETION OF THE ORNITHOLOGY II5 ordinary service which Wilson performed for science in presenting among the two hundred and seventy-eight species of birds which he had de- scribed, forty-eight entirely new ones. Ord was of the opinion that the “Ornithology” presented fifty-six* which had been hitherto undescribed. Perhaps it is safe to say that Wilson’s place as the greatest American Ornithologist is disputed only by Audubon, and how vastly different were their advantages! Audubon worked when one might travel with comparative facility, and he not only had the assistance which was to be gained from Wilson’s work itself, but he also entered into the fruits of Wilson’s labors to awaken in- terest in ornithology. With all the advantages of education also, which an indulgent and thrifty father could offer him, among which was the time spent under the French artist, David, he had everything to help him surpass in his ultimate achievements the work of the poverty-shackled and self-educated Scotchman. Had Wilson’s for- ty-eight years been stretched to Audubon’s sey- enty-six, through the days of prosperity and ap- probation which his books would have brought him, the result of his labors might have been ten- fold greater. John Burroughs in his life of Audu- bon compares him thus with Wilson: “His draw- ings have far more spirit and artistic excellence, and his text shows more enthusiasm and hearty affiliation with nature. In accuracy of observation Wilson is fully his equal if not his superior.” Of * Mr. John Burroughs accepts the original figures also, viz, three hundred and twenty species described, of which fifty-six were new. 116 ALEXANDER WILSON: POET-NATURALIST Audubon he says, “His birds are very demonstra- tive, even theatrical and melodramatic at times. * * Wilson errs, if at all, in the other direction. His birds, on the other hand, reflect his cautious, undemonstrative Scotch nature.” The compari- son is not, after all, a very severe one for Wilson’s fame. ~— ei = CHAPTER VII WILSON, THE MAN He who would enter into the spirit of any man’s work must first understand something of the man. One should know his Boswell if he would enjoy to the fullest his Johnson; Charles Lamb and “Old Fitz” are as delightful in themselves as in the “Essays of Elia’ or the Rubaiyat of Omar. Even the frailties of a Bacon or a Byron must be remembered for the light that we gain for the understanding of what they have written. Indeed, for myself I must confess that there are some men who mean more to me than their books. With all my love for the Defense of Poesy and the Arcadia, I would sooner throw the last existing copies of them both into the fire than have the world forget that Sir Philip Sidney had lived; and the personalities of Phillips Brooks and William Gil- more Simms hold a dearer place in my own heart than any printed pages that survive them. Even the records of some men’s faces mean a great deal to us. Who does not love the kindly smile of Emerson or the dreamy eyes of Hawthorne? What lover of literature is there who does not con over the features of his favorite author as he would over those of a dear friend? We shall lose none of our admiration for our Alexander Wilson if we will introduce him to ourselves, for his life is as full of courage, of heroic strivings, of lofty aspirations, of patriotism and of love as it could 118 ALEXANDER WILSON: POET-NATURALIST well be, and as full of the freshness, the fragrance, and the freedom of the woods as are his own writ- ings. But his nature was so characterized by growth and development that we must study him at least in two periods of his life. The picture that was painted of him a few years before he came to America by James Craw is said to be an excellent reproduction of his youthful appearance. His face is exceedingly narrow, and about the large dark eyes there is not the keen expression which was noticed by some who have described his appearance later in life, but rather the wistfulness of the dreamer, looking far beyond him with heavy drooping lids. His high but some- what narrow forehead is lost in a profusion of straight-cut hair that falls over it; his nose is long and thin and noticeably hooked, while above his narrow but rounding chin is a well-bowed sensi- tive mouth with low-hanging underlip. About his shoulders falls his hair in long natural waves, and the hand on which he rests his face is a slender and graceful one for a man who has earned his bread with such hard labor. Withal, his long thin face, with its dreamy, almost melancholy expres- sion, is not uncomely, though certainly not hand- some. It is the face rather of the poet than of the man of action, and would scarcely lead us to expect the dauntless pertinacity of purpose which at last made him famous; nor in the sweet, almost sentimental, features can we catch the faintest glimpse of the vein of coarseness which runs through his earlier poems. In considering Wilson’s nature we must not for- WILSON, THE MAN 119 get one predominating characteristic of his earlier years—moodiness. One moment he is exulting over some little encouragement—a kind word from some one he highly esteemed, or a few more names on his subscription list, the next he is plunged in the “slough of despondency” by the smallest slight imaginable. His whole ‘world glows in rose colors or darkens in gloom accord- ing to his feelings—to use his own words, “the least beam of hope brightens and the slightest shades horrify his tumultuous soul.” From his earliest youth Wilson’s propensity for rhyming kept hold upon him, and his abiding propensity for rhyming kept him from devoting himself to his other labors with that ardor which is the price of success. Even in this early period of his life he was not wanting in patient industry. How very assidu- ously did he tramp the rough Scotch roads, going from door to door, studying with all earnestness in what manner he might please this one and flatter that one until he had cajoled them into subscribing for his book; poverty often oppressed him, but such times did not come when he devoted his energies to the loom, but only when he heeded the Siren-voice of his treacherous muse, which so often led him astray. He was proud of the little he had accomplished in a poetic way, and vain of his poetic talents. A little praise fired him with tumultuous enthusiasm and turned his thoughts from the earning of bread to the winning of fame. A character naturally brave, almost to reckless- ness, encouraged him to leave a good and sure living to take up a most precarious one if only it 120 ALEXANDER WILSON: POET-NATURALIST brought devotion to his beloved poetry and the chance of a reputation. But we cannot blame such fearlessness when we remember that it was this also that sent him across the Atlantic and at last led him, by a new path, to the goal for which he so ardently longed. There were other causes, too, which united with this thirst for fame to lead him Galahad-like upon his two searches for his “holy-grail.” There seemed to have been born in him a love for roving and a devotion to nature and animals which was at last to master and con- trol all other passions of his life. Through all his wanderings—were he gloomy or glad—never did he forget to listen to the songs of the birds, nor was he ever too sordid or weary to turn from his trail to view the beauties of nature; to him life without the birds, the flowers, and the glorious heavens wasn’t really life after all. In his earliest writings there is an honest candor, a love of truth and fair dealing, and a hatred of artificiality and falsehood that are unmistakably real and sincere. Save in his darkest hours of despondency when nothing looked bright to him, he saw life with wide-open, far-seeing eyes that looked at every- thing in a broad, wholesome way. Toward his brother poets, as in later life to his fellow naturalists, there is never, even in his most confidential letters, the least tinge of envy, but his nature is in this respect as free and open as the blue sky above his beloved American fields. Yet his character has not received the refining of suffering and experience that is to come to it with the passing years. He is a little over self- WILSON, THE MAN 121 conscious, a fault common to introspective natures such as his—sometimes a little of bitterness creeps into his writings; those who will not listen to his proposals are dubbed narrow fools, while he pours out his wrath on the rich who keep dogs to frighten off the poor peddlers; often there is a biting bit of satire or sarcasm flashing out with unexpected sharpness. How heartless is his des- cription of a “little hunch-backed dominie’’ who refused to take the book which he had subscribed for, though at his earlier visit he had been ex- ceedingly agreeable to him. He likened him to a walking-stick with a head fixed between two huge eminences, “one jutting out before, the other heaped up behind like a mountain.” His eyes, he says, “rolled forever with a kind of jeal- ous pride and self-importance, on all around him.” In his later years he could never have brought himself to speak those parting words when he told him that nature was especially unkind in giving to one man so crazy a body with such an insigni- ficant soul; but on the other hand he avows his belief in the goodness of the Duchess of Buc- cleugh, even after that lady gave him so curt an answer at the “Fair of Dalkeith.” Wilson’s sensitiveness is again and again evi- dent; for instance, after the affair with the Duch- ess he relates how with hurt and despondent feel- ings he left his wares to retire to a corner of the room and ponder over his fresh disappointment. To his friends and relatives Wilson was unfail- ingly kind, thoughtful, and faithful. Thomas Crichton, David Brodie, William Duncan, his 122 ALEXANDER WILSON: POET-NATURALIST nephew, and his father and step-mother were never forgotten throughout his whole life, and in later years he was equally devoted to Charles Orr and William Bartram. Once admiring President Jefferson, he never faltered in his devotion to him, even when he failed to get the appointment on Pike’s Expedition, for which he so much longed for the sake of his ie of the birds of that un- known region. Wilson’s character was marked by a natural gentleness and naive tenderness. Since his mother died when he was a child, and he never knew the affection of a wife, while his sister was several years his senior,—nor was he associated with her for any long while,—he was thus without those more subtle sympathies which are only de- veloped by the affections of a woman made dear by life’s closer ties. Yet to Wilson the love of animals appealed with a force that few men know, and to bird and beast alike throughout life his affection went out with all the tenderness of his nature. A little paroquet which he carried with him through one of his southern trips became to him a real companion, and he speaks of his regret at parting from it with evident, though restrained, feeling. His account of the freeing of a wee mouse, which he was sketching, speaks volumes for the tenderness of the man. “One of my boys,” he wrote Bartram, “caught a mouse in school, a few days ago, and directly marched up to me with his prisoner. I set about drawing it that same evening, and all the while the pantings WILSON, THE MAN 123 of its little heart showed it to be in the most ex- treme agonies of fear. I had intended to kill it, in order to fix it in the claws of a stuffed owl, but happening to spill a few drops of water near where it was tied, it lapped it up with such eagerness and looked in my face with such an eye of suppli- cating terror, as perfectly overcame me. I im- mediately untied it, and returned it to life and liberty. * * * Insignificant as the object was, I felt at that moment the sweet sensations that mercy leaves on the mind when she triumphs over cruelty.” Though this occurred in his later years it is characteristic of the humaneness of his whole life. Let us turn now from the young Scotchman to the mature American. We shall find that though time has plowed deep furrows in the face and in the soul of the man, yet this has only made the flowers—the virtues of his character—blossom more beautifully. Faithful as he ever was to his own ideals of life, yet the Wilson that died at the age of forty-seven, in Philadelphia, was in many ways different from the young man of twenty-eight who disembarked from the Swift in 1794. Not only had he schooled himself with rigorous constancy in those studies in which he was conscious of being most deficient, but life itself with its hardships and experiences had disciplined him in many things. We have re- marked on a strain of coarseness in his early Scotch writings which was characteristic of many of the writers with whom he was familiar; not a line that he wrote in America but is as pure and I24 ALEXANDER WILSON: POET-NATURALIST chaste as a child’s thoughts. ‘The rash impetuos- ity which had led him into trouble in Paisley ap- peared no more, but when his brother David brought with him to America the poems which were the occasion of the imprisonment in Scot- land, Wilson is said to have given them to the flames. To Crichton he wrote in 1811, “You found me in early life an enthusiastic young man, pursuing what I thought right, without waiting to consider its expediency, and frequently suffering (and that feelingly too) for my temerity. At present I have the same ardor in the pursuit of my object, but the object is selected with more discretion.” His con- sciousness of the change in himself is often voiced in his letters; the August before his death he wrote to his father, “The difficulties and hardships I have encountered in life have been useful to me. In youth I had wrong ideas of life. Imagination too often led judgment astray. You would find me much altered from the son you knew me in Paisley—more diffident of myself, and less precipi- tate, though often wrong.” He had great confidence in the possibilities of honest, unremitting work, and a shrewd under- standing of the ways of men. His whole phi- losophy of life is summed up in his remark that, “To be completely master of one’s business, and ever anxious to discharge it with fidelity and honor, is to be great, beloved, respected and happy.” With his canny Scotch nature he had little respect for good-natured negligence, but believed that it was a man’s duty to look out for WILSON, THE MAN 125 his own interest. To William Duncan he wrote, “More than half of the roguery of one-half of mankind is owing to the simplicity of the other half.” He distinguished clearly between the love of church and the love of religion, “pietism” and goodness; he was liberal in his views, but deeply and sincerely religious in his feelings. Of his patriotism we have already spoken. His love for his native country and the still greater devotion to the land of his adoption are expressed over and over again in his writings. “Few Americans,” he wrote to a friend in Scotland, “have seen more of their country than I have done, and none love it better.” George Ord, who knew him well, summed up his character thus: “Mr. Wilson was possessed of the nicest sense of honour in all his dealings, he was not only scrupulously just but highly generous. His veneration for truth was exemplary. His disposition was social and affec- tionate. His benevolence was extensive. He was remarkably temperate in eating and drinking ; his love for retirement preserving him from the contaminating influence of the convivial circle. But, as no one is perfect, Mr. Wilson partook, in a small degree, of the weakness of humanity. He was of the genus irritabile and was obstinate in opinion. It ever gave him pleasure to acknowl- edge error, when the conviction resulted from his own judgment alone; but he could not endure to be told of his mistakes. Hence his associates had to be sparing of their criticisms, through fear of forfeiting his friendship. With almost all his friends, he had occasionally, arising from some 126 ALEXANDER WILSON: POET-NATURALIST collision of opinion, some slight misunderstand- ing, which was soon passed over, leaving no dis- agreeable impression. ‘But an act of disrespect, or wilful injury, he would seldom forgive.”* In short, Wilson was a proud, independent, active, generous, ambitious man, with the frailties and virtues which usually accompany a restrained but fiery spirit. We have described Wilson’s appear- ance aS a young man, it remains now to paint the picture of him as he looked in his later years in America. His height was about five feet ten, but from his stooping somewhat he appeared less. Audubon thus recites his recollection of his first sight of him: “His long, rather hooked nose, the keenness of his eyes, and his prominent cheek- bones, stamped his countenance with a peculiar character. The dress, too, was of a kind not usually seen in that part of the country; a short coat, trousers and a waistcoat of grey cloth.” There is an excellent portrait of Wilson by Peale which was presented by Governor S. Bradford to Dr. N. Chapman and by him presented to the American Philosophical Society of Philadelphia. Since Ord’s description must represent him as he was in his very latest years, with it we close our portrayal of Wilson, the Man. “In his person he was of middle stature, of a thin habit of body; his cheek bones projected, and his eyes, though hollow, displayed consider- able vivacity and intelligence; his complexion was sallow, his mien thoughtful; his features were *“American Ornithology,” IX. + Through the kindness of this society we are able to use a copy of this portrait as our frontispiece. WILSON, THE MAN 127 coarse, and there was a dash of vulgarity in his physiognomy, which struck the observer at the first view, but which failed to impress one on ac- quaintance. His walk was quick when traveling, —so much so that it was difficult for a companion to keep pace with him; but when in the forest in the pursuit of birds, he was deliberate and atten- tive—he was, as it were, all eyes and all ears.” CHAPTER VIII WILSON’S LITERARY WRITINGS Like many another man whose fame was made by his prose works, Alexander Wilson began his literary life as a writer of verse. He will always be remembered as an author chiefly by his vigor- ous, idiomatic prose, which made such a fitting accompaniment to the faithful, lifelike drawings of his “American Ornithology.” ‘There was a vivacious picturesqueness about his descriptions, and a lightness of touch, which lifted them above mere scientific writings and established for them a claim to be considered as literature. He loved the birds which he studied, with the intense feel- ing of his strong Scotch nature, and when he made them the subject of his pen, whether in the realm of prose or of poetry, his enthusiasm carried him as though on the borrowed wings of his feathered friends to heights he could never reach when he wrote upon a different theme. The “Ornithology” is written in a popular rather than a scientific style; indeed of Wilson it may be said that like Thoreau he was a poet- naturalist rather than a scientist. His birds are living creatures of the woods, not dried specimens from museums. Real descriptions of birds that he had actually known and watched are what he rejoiced in writing, not abstract generalizations from the facts and figures which he had collected. He gave these, too, but not with the same evident a eee a — — 6 CP th PE Ay AI eal dat lies eee ce ae See aE WILSON’S LITERARY WRITINGS 129 delight. Read his account of the habits of the bluebird or his chapter on the red-headed wood- pecker, and you cannot but delight in the fresh, naive manner in which he speaks of his friends of the forest. Already has the “Ornithology” been treated of at so much length, however, that it is now enough simply to refer the reader to the pages of that charming book itself, with the assurance that for the most part it will be found anything else than dull to him who loves nature and her chil- _ dren. Whatever else Wilson wrote in prose is of little interest save to students of his life. An oration which he delivered at Milestown on March 4, 1801, on “The Power and Value of National Liberty,’ indicates that Wilson possessed some oratorical ability. Both this and “The Solitary Philosopher,’ an essay published in The Bee, a Scottish magazine, in 1791, were of too ephem- eral a nature to be especially interesting in them- selves. The Journal of his travels, and his personal letters, are all important for the gaining of a clear light on the life and character of the man, and to give a valuable insight into Scotch and American life a hundred years ago, but since he wrote them hurriedly during his travels we find in them no literary finish; they teem with the indications of the scantiness of his early education, which are not common in his more carefully corrected writ- ings. 9, 130 ALEXANDER WILSON: POET-NATURALIST As a poet we wish to study him more fully. Wil- son’s prose is familiar to many readers, but with the exception of “The American Blue-bird”’ and “The Osprey,” which have been often republished in anthologies, his verse is almost wholly unknown. It was a misfortune that he wrote so much verse, for the greater part of it is drearily prosaic, and the few pieces that are really good are like modest little poppies that have caught the bright colors of the sunlight and the freshness of the dewdrop, but are overlooked in the great field of dry stubble. How true this is may be grasped when we consider that there are over one hundred poems which are undeniably his, while a large number of others have been attributed to him. Nor are they for the most part short pieces, but many of them are of unusual length, the longest consisting of twenty-two hundred and nineteen lines. Of this great mass of verse not more than twenty pieces are of any real merit. It is, therefore, only the claim that these few good poems can establish for him that shall give us any right to call him a poet at all. Before we take up the consideration of these, let us consider the whole great mass of his verse. We shall find in Wilson all the faults of the Augustan age of English literature, of which in common with other poets of his time he was an immediate heir. Pope had died twenty-two years before he was born; the lives of Goldsmith and Gray barely overlapped into his own, but the poems of these men were still the models after which the lesser makers fashioned their stanzas; TT Mage a Oe ee aE a Te “ni i ig ees = im Bp Pens = a Se 7 “ eee WILSON’S LITERARY WRITINGS 131 it was after the mechanical smoothness of their verse that Wilson sought. This influence had a very enervating effect upon his measures, and it is only when he escaped from it that his verse rose above the commonplace. Grosart in his edition of Wilson’s poems gives in all one hundred and twenty-six pieces, of which four are of doubtful authorship, and three are only variant forms of other poems included in the same volume. The work readily falls into two groups, the poems written in Scotland and those ‘composed during his later life in America. For convenience we may again divide the former of these groups by considering first the Scotch dia- lect pieces and secondly those in English. Without doubt the finest bit of work that Wil- son ever accomplished in his vernacular is the “Watty and Meg,” which he published separately and without his name in 1792. There is a vigor- ous humor and a nice sense of the use of words evident in it as in nothing else that its author ever wrote. As a picture of the life which Wilson knew so well, it is beyond question true, and the very raciness of it adds to its faithfulness without making it actually coarse. It is the story of “the taming of the shrew” in humble Renfrewshire life, but its chief interest rests in the characters sketched and in the freshness of the telling, rather than in the slight incident which forms its plot. We see Watty as “he sat and smoket by him- sel’” at the jovial hostelry of Mungo Blue, and we hear Meg as she comes in “like a Fury,” threatening to throw his “whiskey 7’ the fire.” 132 ALEXANDER WILSON: POET-NATURALIST The vivid scene of the home-going, the scolding and the fright of Meg when her Watty pretends to have “listed” in the army are realistic and are depicted in language that is expressive and pic- turesque. It was of this piece that an interesting story was told by Burns’s widow to Dr. Robert Chambers. The poet was sitting at his desk by the window when he heard a local hawker crying out “Watty and Meg, a new ballad by Robert Burns.” Burns thrust his head out of the open window and called out to the man, whom he knew, “That’s a lee, Andy, but I would make your plack a bawbee if it were mine.” ‘There were not wanting at the time people who credited the poem to the greater poet, but in spite of its real merits it has not the imprint upon it of the genius of Burns. : Two years before “Watty and Meg” was printed Wilson had published his first volume of verse. The most notable thing which it contained was “The Disconsolate Wren,” an early indica- tion of its author’s devotion to nature. The motto which is prefixed to it from the ‘Seasons’ of James Thomson suggests a healthy influence which had come into his life from the poetry of this early nature poet. Simple as the poem is— its theme is only of a little wren whose nest had been destroyed—it is yet distinguished by several lines descriptive of nature that are almost match- less of their kind. “The morn,” he says, “was keekin’ frae the East,” and the familiar picture takes on a new freshness from the quaintness of his phrasing. WILSON’S LITERARY WRITINGS 133 “The circling nets ilk spider weaves Bent, wi’ clear dew-drops hung,” and the “bonnie wee bit Wren, Lone on a fuggy stane,” are instances of the same felicity in the use of more uncommon Scotch words. Another poem which is an example of Wilson’s skill at a different kind of verse is the “Epistle to Mr. William Mitchell,” dated from “Lead- hills.” Wilson was the author of several excel- lent verse letters that really contain lines of true poetry, but perhaps he never surpassed this one. Its opening lines, “Hail! kind, free, honest-hearted swain, My ne’er forgotten frien’ ;” strike a chord of lightsome open-heartedness that runs through all eleven stanzas. He tells with an unruffled good-humor a homely story of a ram that butted his pack into the “burn,” and the whole letter is as full of brightness as are the “wide muirs” of which it sings, “that spread wi’ purple sweep, “Beneath the sunny glowe.” There are two other epistles in the 1790 volume that are especially interesting. They are to An- drew Clark, an old friend, and Ebenezer Picken, one of Scotland’s very minor poets. The first is full of characteristically strong phrases, and the other, though replete with references to the un- 134 ALEXANDER WILSON: POET-NATURALIST familiar verses of Picken, is yet too genuinely Scotch and too full of individuality not to be no- ticed among his Scottish pieces. There are a number of other epistles which are not especially noteworthy, because there is neither particular poetic beauty about them, nor yet any prominence of the individual note that might otherwise make them of interest. The two epistles to James Dobie are perhaps the best of these. The first gives a realistic picture of Wil- son’s attic, the second, were it not for its harrow- ing description of the filth of Edinburgh, would be one of the best of the epistles. The remainder of his Scotch verse-letters, which includes two others to William Mitchell, one to James Ken- nedy, and a second one to Andrew Clark, are in the main commonplace and uninteresting. In the better of his epistles Wilson attained to a manner quite his own, although he used the stanza forms which were familiarly associated with the name of Robert Fergusson and which at the very time when he was writing in them were being consecrated by the genius of Robert Burns. Both Burns and Fergusson wrote their epistles in an easy, facile style that Wilson never gained, and their poetic genius gave to them the unmis- takable stamp of beauty and freshness that was also beyond him. Nevertheless, there is merit in Wilson’s epistles when they are considered apart from the work of these greater masters. He succeeded remarkably well in reproducing the atmosphere of the places which he described, and their bright, cheerful and aptly turned phrases are i : y : i k i Bi ' | 4h WILSON’S LITERARY WRITINGS 135 not their only virtues, for frequently there are flashes of real poetry. Of the other Scotch poems which were included in the 1790 volume a few words will suffice. “The Pack” is a dreary dialogue between a peddler and his pack, the former recounting his woes, the latter expostulating and reminding the other of what he has for which to be thankful. “Verses on Seeing Two Men Sawing Timber,” “Rabby’s Mistake,” “Callamphithre’s Elegy,” the “Epi- taph on Auld Jenet,’ and the “Address to the Ragged Specter, Poverty,” are all equally trivial and worthless. The two elegies, one on the “Un- fortunate Tailor,” the other on the “Long Ex- pected Death of a Wretched Miser,’ are coarse and without merit. ‘The “Verses to a Stationer”’ are very poor, but the lines on “Daybreak” are full of suggestiveness in the pictures which are drawn of the awakening life of the city. There were, besides the Scotch poems, fifty- one others in the first volume of Wilson’s, written in English verse. They are, taken collectively, far inferior to the vernacular pieces, and it would be bootless to consider them all individually. It is more convenient to group them and consider the better pieces in each group. They consist of epistles, descriptive verses, fables, and songs chiefly. Those which are not included in these divisions we may speak of under the head of mis- cellaneous pieces. The epistles have none of the distinction of in- dividuality which marked several of those which he wrote in Scotch. Commonplace in thought 136 ALEXANDER WILSON: POET-NATURALIST and mechanical in metre, they move smoothly on without disturbing the peace of our minds by a single striking phrase or fresh thought. From this generalization we except one only, the “E'pistle to Mr. David Brodie, written on the Last Night of the Year.” On so familiar a theme it would be difficult for a poet to be very original, and we do not find that this epistle surprises us by accomplishing anything very unusual. Yet the poem is a good one by reason of its very simplic- ity and sincerity and contains several stanzas that are quite worthy of Wilson at his best. The year is described as “It leaves us, trembling at the load it bears”; and an excellent description of the bare winter fields, which is strikingly con- cluded with the line “The bleak wind whistling o’er the drifted waste,” gives a real poetic beauty to the poem. The fables, which include “The Fly and the Leech,” ‘The Monkey and Bee,” and “The Wasp’s Revenge,” are manifestly copied after Fergusson, but they merely add volume without merit to the verse productions of Wilson. The songs are of a better quality. ‘Achtertool,” “Matty,” and “To Delia” are examples of the greater number of them. Smooth and mildly musical, there is nothing uncommon about them either of merit or of fault. They were written to familiar Scotch airs and were doubtless composed to be sung by Wilson and his friends around the festal board; no doubt they served the purpose well. “The Group” is the one song to be especially noticed. It is a description of the revellers gath- WILSON’S LITERARY WRITINGS 137 ered around the foaming bowl, and it has all the gay spirit of the occasion. The originals of the six pictures which he sketched are somewhat doubtful, except the one of himself beginning “Here Wilson and Poverty sits Perpetually boxing together.” So closely does he identify himself with poverty that a single verb answers for both. The song is interesting chiefly as throwing a strong light on _ those early days of his chequered life. The descriptive pieces comprise a large num- ber of character-sketches, stanzas on “Morning” and “Evening” and other similar subjects. They maintain a common level of mediocre verse, and there is not one among them that seems more deserving of particular attention than the rest. Nor shall we be greatly repaid by a study of the remaining pieces which do not come under the above groupings. Among these are several trivial elegies, a few pointless epigrams, some addresses of no great merit, and an unfinished poem on “Hardyknute.”’ The most, then, that we can claim for this first collection of poems which Wilson printed is that there were one or two pieces which gave mild promise of something better to come; it would have been far safer for his claims as a verse-writer if these early attempts of his youth had been al- lowed to slumber on forgotten. Wilson himself realized later the weakness of many of them, and when he published another edition in 1791 he 138 ALEXANDER WILSON: POET-NATURALIST omitted several pieces that he had included in his first volume. Of the seven new pieces which he added to this collection, three are worthy of fa- vorable notice. The longest of these is “The Laurel Disputed,” which had already been sepa- rately printed. It is a monologue spoken in the person of an old countryman who maintains the superiority of Robert Fergusson over the older poet, Allan Ramsay. Wilson had delivered it in the Pantheon at Edinburgh, and though he alone spoke in Fergusson’s favor against seven oppo- nents he lost the vote of a large audience by only seventeen votes.* “Eppie and the Deil” is an- other addition of merit. Both pieces are written in strong, racy Scotch dialect, and add much to the strength of the volume of verse. “Eppie and the Deil” with its very evident moral, is the story of an old woman who expressed the wish that the devil might take her loom. His Satanic majesty at once complied with her request, but so com- placently did she accept the loss that the zest of the trick was quite gone and old “Cloots,” “though he was the devil, For once he acted vera civil,” and gave her back her wheel. The third piece to be singled out for careful notice isa song. There is a rare swing, a musical lilt to the “Ode for the Birthday of our Immortal Scotch Poet” that is unusual among Wilson’s * Belfast Edition, 1844. It is claimed that the prize was won by bribery by Mr. Cumming, who is said to have purchased forty tickets of admission for his friends on condition that he should receive their votes, “ OO IF ae a a aaa SS eS Gow nl oie cians Dik ies ee pe WILSON’S LITERARY WRITINGS 139 verses. It has caught the wild, fearless spirit of the day, which laughs ‘down the priest and the devil by turns.” It was set to music for Wilson by a local “Bacchanalian Club,” and though we know nothing about the occasion for which it was written we may well believe that Burns himself was present when it was first sung. Nothing could better represent the daring expression of jubilant unrestraint which was characteristic of the younger men in Scotland at this period than this song which “mixes a damn” with “O rare Robin Burns.” Of the other four pieces which were added in the 1791 edition, one is an ode on “Despondence,” closely modeled after Shenstone, another is an epigram, a third is a eulogistic address to a gen- tleman of local prominence, and the other is a very unsatisfactory attempt to put “Ossian’s La- ment” into rhyming iambic couplets. Of the poem which was next published— “Watty and Meg”—we have already spoken, and we shall now mention an interesting group of verses, separately printed. These verses were born of the spirit of revolutionary unrest which was moving over the troubled waters of Scotch life, and though there is no poetry in any piece of the group, yet they are interesting as an ex- pression of the feelings of the day. Only one of these verses, the “Address to the Synod of Glas- gow and Ayr,” deals with political and religious matters, and bitterly and severely does it lash the existing conditions. The others, of which “The Shark,’ “Hab’s Door,’ and the “Hol- 140 ALEXANDER WILSON: POET-NATURALIST lander’ are examples, are biting satires on the manufacturers, whom the weavers believed to be oppressing them. They are crude, relentless lampoons, and whether actually false or true, they show the heat and bitterness of the hatred which these weavers bore to their greedy employers. But they brought upon Wilson the wrath of the men against whom they were written, and it was partly due to them that his career in Scotland ended. In 1791 there was printed in Paisley “The Psalm-singer’s Assistant,” by Robert Gilmour, and for it Wilson had furnished, at the request of his friend Thomas Crichton, seven hymns. The little song which is numbered fourth among these is rare for its quiet beauty and serenity. Among the pieces of doubtful authorship at- tributed to Wilson we mention as worthy of note the “Spouter.” It is mentioned in the “Paisley Repository” during Wilson’s own lifetime among his poems, and the frequent references in it to other poems of his, as well as its general style, indicate that he is its author. It is an humorous account in Scotch of a rambling “Spouter” who recites and sings for the benefit of the audience that has gathered expecting to see a play of some sort. ‘The piece is chiefly made up of reci- tations and songs of the “Spouter.” The best of these are a pathetic little song “Young Jeannie,” and a poem entitled “The Spirit of the Lake’s Song,” which is really a remarkable musical gem, suggesting—almost anticipating in theme—the “Cloud” of Shelley, though it had none of the UR Reng RO IT TS nah a ee aes ee a i — = seit ae WILSON’S LITERARY WRITINGS I41 magic grace and wonderful melody of that ex- quisite lyric. We now turn to the poems which were written after he crossed the Atlantic. In his earlier work Wilson had been most greatly influenced by Fer- gusson, Shenstone, Thomson, Goldsmith, and Pope. In a lesser degree Ramsay and the bud- ding genius of Burns left their imprint upon his style. There is no doubt that Wilson knew some- thing of the older Scottish poets, and the influ- ence of the humble writers of verse among his own intimates may have affected him somewhat. Gay, Beattie, Smollett, and Gray were favorites with him, but there was little in their verse to ex- ert a different influence upon him from what he also received from Pope or Goldsmith or Thom- son. ‘These masters of his he followed in these early years with slavish devotion; the result is that his early English pieces are but cold, com- monplace copies of his models. He attained much of the smooth, mechanical ease of these poets, but none of their inspiration, and it was he who was perhaps least among them—Shenstone —that Wilson was most pleased to copy.. When he wrote in his own Scotch tongue he was more original and Fergusson and Ramsay were as often mere incentives to his muse as they were models. So it was that his one very noteworthy poem which he produced in Scotland was the Scotch “Watty and Meg.” In America new conditions confronted him, and when he sang it was less often with a con- scious sense of copying after another. The man- I42 ALEXANDER WILSON: POET-NATURALIST ner of the day was his manner, and he had not sufficient poetic genius to completely break away from it; but it was composite rather than the style now of one poet, now another. Ten years passed by with scarcely a poem writ- ten. In this period he composed a few exceed- ingly poor songs, such as “Bloomfield,” “The Aristocrat’s Warwhoop,” and “My Landlady’s Nose.” That some of them were widely reprinted in the newspapers is a commentary on the taste of these editors rather than a proof of the merit of the pieces. “Jefferson and Liberty” is another song of this period. It is superior to the others and is interesting in the light of the relations of esteem and admiration which existed between Jefferson and the author; it also shows the ar- dent love of Wilson for his adopted land. It was not until 1800, however, that Wilson really produced anything in America which was worth his while. This was the verse letter to Charles Orr. He did not publish this until it ap- peared greatly altered in the July issue of The Literary Magazine and American Register, under the name of “The Invitation.” This- poem was followed in the Literary Magazine by “A Rural Walk,” “The Solitary Tutor,” “Lines on Seeing a Portrait of Burns,” and one or two others which are not worthy of comparison with those we have named. During this period he published sepa- rately his longest poem, “The Foresters,” and in the “American Ornithology,” he includes several of his best verses; these were “The American Blue-bird,” “The Osprey,” and “The King-bird.” Wak ON nC I ———EOEO———————E——eeeee——3<____ ll ll a aa... SS WILSON’S LITERARY WRITINGS 143 “The Foresters” was Wilson’s most preten- tious poem; it was by no means his best. Its conscious attempt at the grandiose style would have quite spoiled it, had not the very nature of the poem been impracticable. It is a long, tire- some piece of twenty-two hundred and nineteen lines, with a subject no more exciting than a hunt- ing expedition to Niagara Falls. Wilson himself expected great things of it, and declared to his nephew William Duncan that if it did not prove to be good he would despair of ever producing anything that would. Its success in book form, however, was poor, as it deserved to be. The at- tempt throughout the poem seems to be almost an endeavor to acquire the stately, splendid style of Milton, who is several times mentioned in the piece. But imagine a writer striving to engraft the grandeur of “Paradise Lost” on a poem writ- ten in rhyming heroic couplets, descriptive of a bird-hunting expedition! The greater portion of the poem is cumbersome and stiff, and at times the style reaches the extreme of bombast and bathos. There are lines of beauty, however, throughout the piece. A lovely picture of au- tumn begins with the forty-first line and at line twelve hundred and seventy-five there is a good passage representing an Indian’s lament over his lost land. These few well-written passages here and there are unable to redeem the poem, how- ever, for the larger part of it is a dreary waste of words. The poem on Burns’s portrait is in the main good, but its chief interest is biographical. It 144 ALEXANDER WILSON: POET-NATURALIST has a significance as showing that the two poets were undoubtedly acquainted and that the poet- naturalist admired and loved ardently his “Brither Scot.” ‘There are manifest faults in the poem, but it tells us that to Wilson the subject was the “well-known Burns,” his friend, whom he knew when though he was “his country’s pride,” he was “yet left dark Poverty’s cold winds to brave.” We have come now to the consideration of a small group of nature poems on which we must at last base Wilson’s fame as a poet. The first of these was “The Invitation.” It is in the form of a verse letter from Wilson to Charles Orr and is descriptive of the inducements which the coun- try offers to city-stifled workers. It is full of the beating pulse of blossoming summer, painting a land of almost oriental brilliancy. A rich color- ing lights up the whole extent of its almost a century and a half of lines with the “green and gold and purple” hues of bird and flower. The little humming-bird “chirps his gratitude” as he hovers over the honeyed sweetness of the lines, flitting by the poet’s art through the verse-gar- den. We see the “richest roses,” as fanned by the ceaseless beating of his wings they “shrink from the splendour of his gorgeous breast”; we listen with the poet when he tells us how “Sweet sings the thrush to morning and to me;” we watch the king-bird as he “Snaps the return- ing bee with all her sweets.” And delighted we follow on as he leads us through his favorite haunts where the birds sing | ws eter WILSON’S LITERARY WRITINGS 145 “From the first dawn of dewy morning gray In sweet confusion till the close of day.” There is a lack of imagination in “The Invita- tion” and an overbalancing of adjective with ad- jective; in short it has the faults of the school from which Wilson learned his measures. The locusts rise in “countless millions” to our “wonder- ing eyes.” “The richest harvests choke each loaded field”; one tires of this careful adjusting of the scales, the even swing of the metre grows monotonous, but the fault is in the taste of the age rather than in the poet, and did we condemn a writer for this, Pope and Goldsmith would be as gross sinners as Wilson. The beauty of the poem redeems it. True to nature, a just picture, rather than an idealized impression, it stands out in pleasing relief against the tediously pretentious epics of the day, such as Barlow’s “Columbiad,” or monotonous panegyrics of the order of Hum- phrey’s “Happiness of America.” It is not a great poem, certainly, but it is full of beauty and inter- est, and, when considered historically in view of what was being produced in America at that pe- riod, it has its own importance. “A Rural Walk’ is another descriptive nature poem of slightly greater length than “The Invita- tion.” It is written in four-stressed iambic quat- rains with alternate rhyme instead of the suc- cessive pentameters of the other poem. Though it has some of the fresh beauty of the other piece yet it is far less striking in the richness of the pictures drawn and in the aptness of poetical ex- Io 146 ALEXANDER WILSON: POET-NATURALIST pression. The poem is partly addressed to Wil- liam Bartram, the delightful old botanist of Phil- adelphia, and it contains a pleasant note of ac- knowledgment to him. Though perhaps the least important of this late group of nature poems, yet “A Rural Walk” has caught enough of the spirit of nature to give it a fresh beauty, and there is a sense of sweet melody which it leaves with you as though, to quote its repeated line, one had in- deed been where “thrushes pipe their evening song.” In “The Solitary Tutor,” which appeared in the October Literary Magazine two months later than the “Rural Walk,’ Wilson produced what is per- haps from an artistic point of view the best of his longer English poems. In this Wilson evidently set himself a definite model, Shenstone’s ‘“‘School- mistress,” adopting therefor the Spenserian stanza. The poem is autobiographical and depicts very vividly the scenes of Gray’s Ferry; Wilson himself is the “Solitary Tutor.” In Shenstone’s poem there is a very real character drawn, and some vivid touches of portraiture distinguish it. The sketch of the good old lady and her hen is most felicitous, and very human indeed is the picture of the schoolmis- tress when a culprit stands before her, and “brandishing the rod she doth begin To loose the brogues, the stripling’s late delight, And down they drop, appears his dainty skin, Fair as the furry coat of whitest ermilin.” Wilson is more subjective and does not succeed so well in producing a character, but the poetical beauties of his poem compare quite favorably WILSON’S LITERARY WRITINGS 147 with the stanzas of “The Schoolmistress” and ex- ceed by far those of the contemporary American poet Dwight, written in the same metre, in his “Indian Temple.” The poem has a less imaginative beauty than the “Invitation,” and never rises to poetic fervor, but it flows on in a pleasingly musical measure,— slightly monotonous perhaps,—with many rich nature-pictures and much interesting local color. The only poems that are now left to be consid- _ ered are “The Blue-bird,” “The Osprey,” and “The King-bird,” three charming poems which were printed in the “American Ornithology.” “The King-bird or Tyrant Fly-Catcher” is the long- est of these, being more in the descriptive vein, and is written in rhyming pentameters. The other two are far superior to it as poems. Here at last we have the best expression of Wilson’s poetic art. In both of these poems there is an original note that we find to the same extent in nothing else that he wrote except the Scotch “Watty and Meg.” “The Fisherman’s Hymn” in “The Osprey” has a merry swinging measure that excellently fits its subject. It is marred by the enumeration of the various fishes in the sec- ond stanza, but it is one of the best of our early American poems. “The American Blue-bird,’’ however, is even better in its rhythmical melody and genuine em- bodiment of the spirit of nature. He was inspired to sing by this very love of nature. In his “For- esters” he exclaimed, 148 ALEXANDER WILSON: POET-NATURALIST “What though profuse in many a patriot’s praise We boast a Barlow’s soul—exalting lays; An Humphreys, blessed with Homer’s nervous glow, And Freedom’s friend and champion in Freneau; Yet Nature’s charms that bloom so lovely here, Unhailed arrive, unheeded disappear.” These were the bards that now fired his emula- tion and this the theme which should inspire his pen. It is in this historical setting that we must consider Wilson before we conjecture his place in American literature. Joel Barlow, David Humphreys, Timothy Dwight, John Trumbull, and Philip Freneau were the poets whose works were best known among the native writers. The first three were authors of long, pretentious, but hopelessly dreary works, with no distinctive style to mark one from the other. Their verses were counterparts of the pompous lines of Wilson’s own “Foresters,” and like that piece are best remembered only histori- cally. “Trumbull really produced a verse full of a rough, ready wit, but he was certainly no poet. Freneau was the one poet of this group, and wrote a few nature poems of simple, real beauty. There were some little lyrics being produced of unusual beauty by John Shaw, Richard Dana, and Richard Wilde, but they were exceedingly few in number. Wilson in his nature poems most re- sembled Dana and Freneau, and “The Blue- bird” and “The Osprey” may justly claim a place with Freneau’s “Wild Honeysuckle” and “To a Honey Bee,” and Dana’s “Little Beach-bird’: delicate little poems all of them, that were to be forerunners of the nature poems of Whittier and WILSON’S LITERARY WRITINGS 149 Bryant and our later poets. These early singers were the beginnings of an American school of poetry, and so, historically, their names are very significant. Among them Wilson must have a place. In volume he left enough to show the se- riousness with which he considered himself as a writer of verse, but the volume of his poetical work does not help his reputation. In the full edition edited in 1876 by Alexander B. Grosart the few good poems which Wilson produced are lost in the great mass of rubbish which the editor has gathered together from the author’s youth- ful past. Part of it is made up of puerile attempts at verse; part, of mere doggerel written offhand at some odd moments to enclose in letters to his friends. Some of the pieces, produced under the influence of the old chap-books, are positively re- volting in their vulgar coarseness and utter lack of motif. Thrown promiscuously together they seem a hopeless collection of worthless verse which it were best to leave to grow dusty on for- gotten shelves. When the chaff is winnowed out, however, something is still left of real worth and enough of it to make a respectable-sized volume. Such a collection would include about twenty poems. Among these would certainly be “The American Blue-bird,’ ‘The Osprey,” ‘The Invitation,” “The Solitary Tutor,’ “A Hymn” (IV in the series of hymns), “Watty and Meg,” “Eppie and the Deil,” “The Disconsolate Wren,” “Epistle to William Mitchell,’ and “The Laurel Disputed.” Others that would perhaps be included are 150 ALEXANDER WILSON: POET-NATURALIST “The King-bird,”’ ‘A Rural Walk,’ the two poems on Burns, the group, “Epistles” to An- drew Clark, David Brodie, and Eben Picken, and selections from “The Foresters.” ‘These would in- clude among them the best of Wilson’s work in verse; the first eight are undeniably good. In his poetry Wilson was not remarkable for his originality, and it was only his intense love for the birds that sometimes made him so forget all models that he was able to produce something that had on it the true mark of his own personal- ity. He lacked critical judgment and often his most excellent lines occur in otherwise barren poems, while just as frequently his strongest stanzas are marred by strikingly poor lines. He was too reserved to ever put his innermost feel- ings into his verse, and his taciturn Scotch nature rarely granted to him a moment of heated fervor. Yet his ardent love for nature and the close ob- servation which he made of her ways, combined with his poetic sensibilities, enabled him to write some exceedingly attractive nature poems which should assure him consideration among our early lesser poets. His pictures of nature are emi- nently true and his verse is usually rhythmical, while sometimes his lines are exquisitely musical. When we come to count over American poets, we shall find many greater and more splendid names, but America can never be so rich in poetry that we should forget the early beginnings of our song, or altogether overlook the modest verses of Alexander Wilson, “the poet-naturalist,” in whose heart the birds “nestled and sang.” BIBLIOGRAPHY The American Ornithology, by Alexander Wil- son. 9 vols., folio, with a life of Wilson by George Ord. Bradford and Inskeep, Phila., 1808-14. The American Ornithology. Second Edition. 3 vols. New York and Phila. 1828-’29. The American Ornithology, by Alexander Wil- son and Charles Lucian Bonaparte. Edited with notes and additions by Robert Jameson. (Including a life by Dr. W. M. Hethering- ton.) Edin. Constable’s Miscell: IXVIII- IXXI, 4 vols, 1831. The American Ornithology with a continuation by Charles Lucian Bonaparte. New and En- larged Edition completed by the insertion of above 100 birds omitted in the Originai Work, and illustrated by Notes, with a Life of the Author by Sir William Jardine, Bart., &c. The American Ornithology by Wilson with notes by Jardine, to which is added a synopsis of American Birds including those described by Bonaparte, Audubon, and Richardson. Ed- ited by T. M. Brewer. 8vo. Boston, 1840; New York, 1852; Philadelphia, 1856, Etc. Memoir and Literary Remains of Alexander Wilson, the American Ornithologist. Ed- ited with memorial introduction, essay, notes, illustrations and glossary by the Rev. Alex. B. Grosart, Paisley. A Gardner, 1876. 2 vols. 152 ALEXANDER WILSON: POET-NATURALIST The Poetical Works of Alexander Wilson, also his miscellaneous prose writings, journals, letters, essays, etc., now first collected. I- lustrated by critical and explanatory notes, with an extended memoir of his life and writ- ings and a glossary. (By Thomas Smith Hutcheson.) Belfast: J. Henderson (1844). 12mo. The Poetical Works of Alexander Wilson with a Memoir. Belfast: J. Henderson, 1853. 240. Wilson the Ornithologist; a new chapter in his life (embodying many letters hitherto un- published) by Allan Park Paton. London: Longmans, Green & Co., 1863. Memoir of Wilson by Sir William Jardine, Bart., F.R.S. E., etc. Vol. IV of the Naturalist’s Library. London: Chatto and Windus, ‘Piccadilly. Life of Alexander Wilson, by Wm. B. O. Pea- body, in the Library of American Biography conducted by Jared Sparks. Vol. II, Harper & Bros., New York, 1854. Difficulties Overcome; Scenes in the Life of Al- exander Wilson, the Ornithologist. By C. Lucy Brightwell. London, 1861, 12mo. Sketch of the Life of Alexander Wilson, Author of the “American Ornithology.” By George Ord, F. L. S., etc. Phila., 1828. 8vo. Poems of Alexander Wilson (with account of Life and Writings): Paisley, 1816, 12mo. English and Scotch Sketches, pp. 277-284. Thos. O. P. Hiller. London, 1857. a by a a Nae a2 E on rig a Pat Pa - a on ap pti tiny me 4 SE ee RAI ey ci SEP a ee prea © Reni ctl, . ee BIBLIOGRAPHY 153 The Lives of Eminent Philadelphians, pp. 968- 969. Henry Simpson. Phila., 1859. Memorable Facts in the Lives of Memorable Americans, Sir Rom. de Camden. Bird Life: Stories from Comparisons of Writings of Audubon, Wilson, etc., by C. M. Weed. Chicago: Rand, McNally & Co., 1904. Wilson, the Ornithologist; D. Gardner, Scrib- ner’s Monthly, March, 1876, vol. 2, pp. 690- 703. Potter’s American Monthly, vol. 4, pp. 263-267. April, 1875. Obituary Notice of Alexander Wilson, Port Folio ard Series, vol. 2, Sep., 1813, pp. 345-353- Alexander Wilson, The Great Naturalist, by Henry Coyle, The Chautauquan, Nov., 1893. Letters of Wilson, Penn. Monthly, vol. 10, 443. Wilson’s Ornithology, American Quarterly, vol. 10, Pp. 433. Alexander Wilson with portrait. Popular Sci- ence Monthly, vol. 36, pp. 400. Chambers’s Miscellany, No. 452. Griswold’s Prose Writers, p. 577. F. Saunders’s Famous Books, p. 143. C. C. B. Seymour’s Self-Made Men, p. 215. B. B. Edwards’s Self-taught Men, p. 594. Lossing’s Eminent Americans, p. 181. Museum Foreign Literature, vol. 9, p. 399. North American Review, vol. 24, 24-110. Blackwood’s Edinburgh Magazine, vol. 19, p. 661, June, 1826. Jules Michelet’s L’Oiseau, pp. 121-127. 154 ALEXANDER WILSON: POET-NATURALIST OTHER BOOKS REFERRED TO Social Life in Scotland in the Eighteenth Cen- tury, 2 vols., by Henry Gray Graham. Lon- don: Adam and Charles Black, 1899. Social England. Vols. IV and V, Edited by H. D. Traill. London: Cassell & Co., 1896. The Union of Scotland and England. A Study of International History by James Mackin- non, Ph. D. Longmans, Green & Co., Lon- don, New York and Bombay, 1896. Recollections of a Tour Made in Scotland, A. D. 1803. By Dorothy Wordsworth. Remarks on Local Scenery and Manners in Scot- land during the Years 1799 & 1800, by John Stoddard, LL. B. London: Wm. Miller, 1801. oT SAE CRE EERIE 8 TTS RTE TENE SENN OS Ow, Fy ew mt SELECTED POEMS THE AMERICAN BLUE-BIRD When Winter’s cold tempests and snows are no more, Green meadows, and brown furrow’d fields reap- pearing, . The fishermen hauling their shad to the shore, And cloud-cleaving geese to the lakes are a-steer- ing; When first the lone butterfly flits on the wing, When red glow the maples, so fresh and so pleasin’ ; _O then comes the blue-bird, the herald of spring, And hails with his warblings the charms of the season. Then loud piping frogs make the marshes to ring; Then warm glows the sunshine, and fine is the weather ; The blue woodland flowers just beginning to spring, And spicewood and sassafras budding together ; O then to your gardens, ye housewives, repair! Your walks border up; sow and plant at your leis- ure; The blue-bird will chant from his box such an air, That all your hard toils will seem truly a pleasure. He flits thro’ the orchard, he visits each tree, The red flowering peach, and the apple’s sweet blossoms ; He snaps up destroyers wherever they be, And seizes the caitiffs that lurk in their bosoms; He drags the vile grub from the corn it devours, The worms from their webs where they riot and welter ; His song and his services freely are ours, And all that he asks, is, in summer a shelter. 158 | ALEXANDER WILSON: POET-NATURALIST The ploughman is pleased when he gleans in his train, Now searching the furrows, now mounting to cheer him ; The gard’ner delights in his sweet simple strain, And leans on his spade to survey and to hear him; The slow-ling’ring schoolboys forget they’ll be chid, While gazing intent as he warbles before ’em, In mantle of sky-bue, and bosom so red, That each little loiterer seems to adore him. When all the gay scenes of the summer are o’er, And autumn slow enters so silent and sallow, And millions of warblers, that charm’d us before, Have fled in the train of the sun-seeking swallow, The blue-bird, forsaken, yet true to his home, Still lingers, and looks for a milder to-morrow; Till fore’d by the horrors of winter to roam, He sings his adieu in a lone note of sorrow. While Spring’s lovely season, serene, dewy, warm, The green face of earth and the pure blue of heaven, Or Love’s native music, have influence to charm, Or Sympathy’s glow to our feelings are given— Still dear to each bosom the blue-bird shall be; His voice, like the thrilling of hope, is a treasure; For, thro’ bleakest storms, if a calm he but see, He comes to remind us of sunshine and pleasure. SS ae — SSS = Ts, ae I ga ae FES re il .! ——— = et BS i a ed , THE OSPREY Soon as the sun, great ruler of the year, Bends to our northern clime his bright career, And from the caves of ocean calls from sleep The finny shoals and myriads of the deep; When freezing tempests back to Greenland ride, And day and night the equal hours divide; True to the season, o’er our sea-beat shore, The sailing osprey high is seen to soar, With broad unmoving wing, and circling slow Marks each loose straggler in the deep below; Sweeps down like lightning! plunges with a roar! And bears his struggling victim to the shore. The long-housed fisherman beholds with joy, The well known signals of his rough employ; And as he bears his nets and oars along, Thus hails the welcome season with a song: THE FISHERMAN’S HYMN The osprey sails above the Sound, The geese are gone, the gulls are flying; The herring shoals swarm thick around, The nets are launched, the boats are plying. Yo ho, my hearts! let’s seek the deep, Raise high the song and cheerly wish her; Still as the bending net we sweep, “God bless the fish-hawk and the fisher.” She brings us fish—she brings us spring, Good times, fair weather, warmth and plenty; Fine store of shad, trout, herring, ling, Sheeps-head and drum, and old wives dainty. 160 ALEXANDER WILSON: POET-NATURALIST Yo ho, my hearts! let’s seek the deep, Ply every oar, and cheerly wish her, Still as the bending net we sweep, “God bless the fish-hawk and the fisher!” She rears her young on yonder tree, She leaves her faithful mate to mind ’em; Like us, for fish she sails the sea, And, plunging, shows us where to find ’em. Yo ho, my hearts! let’s seek the deep, Ply every oar, and cheerly wish her, While slow the bending net we sweep, “God bless the fish-hawk and the fisher!” — ee eee THE INVITATION. Appressep To Mr. CHartes Orr How blest is he who crowns in shades like these A youth of labour with an age of ease; Who quits a world where strong temptations try, And since he cannot conquer, learns to fly—Goldsmith. From Schuylkill’s rural banks o’erlooking wide The glitt’ring pomp of Philadelphia’s pride, From laurel groves that bloom forever here, I hail my dearest friend with heart sincere, And fondly ask, nay ardently implore, One kind excursion to my cot once more, The fairest scenes that ever blest the year Now o’er our vales and yellow plains appear; The richest harvest choke each loaded field, The ruddiest fruit our glowing orchards yield. In green, and gold, and purple plumes array’d, The gayest songsters chant in ev'ry shade. O could the muse but faithfully portray The various pipes that hymn our rising day, Whose thrilling melody can banish care, Cheer the lone heart, and almost soothe despair, My grateful verse should with their praises glow, And distant shores our charming warblers know; And you, dear sir, their harmony to hear, Would bless the strain that led your footsteps here, {I 162 ALEXANDER WILSON: POET-NATURALIST When morning dawns, and the bright sun again Leaves the flat forests of the Jersey main, . Then through our woodbines, wet with glitt’ring dews, The flow’r-fed humming-bird his round pursues, Sips with inserted tube the honey’d blooms, And chirps his gratitude, as round he roams; While richest roses, though in crimson drest, Shrink from the splendor of his gorgeous breast. What heav’nly tints in mingling radiance fly! Each rapid movement gives a diff’rent dye; Like scales of burnish’d gold they dazzling show; Now sink to shade, now furnace-bright they glow. High on the waving top of some tall tree, Sweet sings the thrush to morning and to me; While round its skirts, ’midst pendent boughs of green, The orange Baltimore is busy seen. Prone from the points his netted nest is hung, With hempen cordage curiously strung; Here his young nestlings safe from danger lie, Their craving wants the teeming boughs supply. Gay chants their guardian, as for food he goes, And waving breezes rock them to repose. The white-wing’d woodpecker with crimson crest, Who digs from solid trunks his curious nest, Sees the long black snake stealing to his brood, And, screaming, stains the branches with its blood. Here o’er the woods the tyrant king-bird sails, Spreads his long wings, and every foe assails, Snaps the returning bee with all her sweets, Pursues the crow, the diving hawk defeats, Darts on the eagle downwards from afar, And ’midst the clouds prolongs the whirling war. POEMS 163 Deep in the thickest shade, with cadence sweet, Soft as the tones that heaven-bound pilgrims greet, Sings the wood-robin close retir’d from sight, And swells his solo ’mid the shades of night. Here sports the mocking-bird with matchless strain, Returning back each warbler’s notes again: Now chants a robin, now o’er all the throng, Pours out in strains sublime the thrush’s song, Barks like the squirrel, like the cat-bird squalls, Now “Whip-poor-will,” and now “Bob White” he calls. The lonely red-bird too adorns the scene, In brightest scarlet through the foliage green, With many a warbler more, a vocal throng, That shelter’d here their joyous notes prolong, From the first dawn of dewy morning grey, In sweet confusion till the close of day. Ev’n when still night descends serene and cool, Ten thousand pipes awake from yonder pool; Owls, crickets, tree-frogs, katydids resound, And flashing fire-flies sparkle all around, Such boundless plenty, such abundant stores The rosy hand of nature round us pours, That every living tribe their powers employ, From morn to eve, to testify their joy, And pour from meadow, field, and boughs above, One general song of gratitude and love. Even now, emerging from their prisons deep, Wak’d from their seventeen years of tedious sleep, In countless millions to our wondering eyes The long-remembered locusts glad arise, Burst their enclosing shells, at Nature’s call, And join in praise to the great God of ali. 164 ALEXANDER WILSON: POET-NATURALIST Come then, dear sir, the noisy town forsake, With me awhile these rural joys partake ; Come, leave your books, your pens, your studious cares, Come, see the bliss that God for man prepares. My shelt’ring bow’rs, with honeysuckles white, My fishy pools, my cataracts invite ; My vines for you their clusters thick suspend, My juicy peaches swell but for my friend; For him who joins, with elegance and art, The brightest talents to the warmest heart. Here as with me at morn you range the wood, Or headlong plunge amid the crystal flood, More vig’rous life your firmer nerves shall brace, A ruddier glow shall wanton o’er your face, A livelier glance re-animate your eye. Each anxious thought, each fretting care shall fly, For here, through every field and rustling grove, Sweet Peace and rosy Health for ever rove. Come, then, O come! your burning streets forego, Your lanes and wharves, where winds infectious blow, Where sweeps and oystermen eternal growl, Carts, crowds, and coaches harrow up the soul, For deep, majestic woods, and op’ning glades, And shining pools, and awe-inspiring shades ; Where fragrant shrubs perfume the air around, And bending orchards kiss the flow’ry ground, And luscious berries spread a feast for Jove, And golden cherries stud the boughs above; Amid these various sweets thy rustic friend Shall to each woodland haunt thy steps attend, His solitary walks, his noontide bowers, The old associates of his lonely hours; While Friendship’s converse, gen’rous and sincere, Exchanging every joy and every tear, Shall warm each heart with such an ardent glow, As wealth’s whole pageantry could ne’er bestow. DE PE cee Be, andi “A Rad , — ee SII ee lina CN ae el eS eeeeEEeEeEeEeeEeeeee——e—EEe os oa Sa a Ao — a ee ee a ee ee ee SS Sree oe aes a ae = ~~ ~ at ohh as Sa oto iL -2 Me hae 2 SS tay ; POEMS 165 Perhaps (for who can nature’s ties forget?) As underneath the flowery shade we sit, In this rich western world remotely plac’d, Our thoughts may roam beyond the wat’ry waste; And see, with sadden’d hearts, in memory’s eye, Those native shores, where dear-lov’d kindred sigh: Where War and ghastly Want in horror reign, And dying babes to fainting sires complain. While we, alas! these mournful scenes retrace, In climes of plenty, liberty, and peace, Our tears shall flow, our ardent pray’rs arise, That Heaven would wipe all sorrow from their eyes. Thus, in celestial climes, the heavenly train, Escap’d from earth’s dark ills, and all its pain Sigh o’er the scenes of suffering man below, And drop a tear in tribute to our woe. THE SOLITARY TUTOR. Who’er across the Schuylkill’s winding tide, Beyond Gray’s Ferry half a mile, has been, Down in a bridge-built hollow must have spy’d A neat stone school-house on a sloping green: There tufted cedars scatter’d round are seen, And stripling poplars planted in a row; Some old gray white-oaks overhang the scene, Pleas’d to look upon the youths below, Whose noisy noontide sports no care or sorrow know. On this hand rise the woods in deep’ning shade, Resounding with the songs of warblers sweet, And there a waving sign-board hangs display’d From mansion fair, the thirsty soul’s retreat; There way-worn pilgrims rest their weary feet, When noontide heats or evening shades prevail : The widow’s fare, still plentiful and neat, Can nicest guest deliciously regale, And make his heart rejoice the sorrel horse to hail. Adjoining this, old Vulcan’s shop is seen, Where winds, and fires, and thumping hammers roar, White-wash’d without, but black enough within * * * Emblem of modern patriots many a score. The restive steed impatient at the door, Starts at this thundering voice and brawny arm, While yellow Jem with horse-tail fans him o’er, Driving aloof the ever buzzing swarm, Whose shrill blood-sucking pipes his restless fears alarm. POEMS 167 / An ever-varying scene the road displays, With horsemen, thundering stage, and stately team, Now burning with the sun’s resplendent rays, Now lost in clouds of dust the travellers seen, And now a lengthen’d pond or miry stream. Deep sink the wheels, and slow they drag along, Journeying to town, with butter, apples, cream, Fowls, eggs, and fruit, in many a motley throng, Coop’d in their little carts their various truck among. And yonder, nestled in enclust’ring trees, Where many a rose-bush round the green yard glows, Wall’d from the road, with seats for shade and ease, A yellow-fronted cottage sweetly shows: The towering poplars rise in spiry rows, And green catalpas, white with branchy flowers; Her matron arms a weeping willow throws Wide o’er the dark green grass, and pensive lours, Midst plum-trees, pillar’d hops, and honey-suckle bow- ers. Here dwells the guardian of these younglings gay, A strange recluse and solitary wight, In Britain’s isle, on Scottish mountains gray, His infant eyes first open’d to the light. His parents saw with partial fond delight Unfolding genius crown their fostering care, And talk’d with tears of that enrapturing sight, When, clad in sable gown, with solemn air, The walls of God’s own house should echo back his pray’r. Dear smiling Hope! to thy enchanting hand, What cheering joys, what ecstasies we owe! Touch’d by the magic of thy fairy wand, Before us spread, what heavenly prospects glow! 168 ALEXANDER WILSON: POET-NATURALIST Thro’ Life’s rough thorny wild we lab’ring go, And tho’ a thousand disappointments grieve, Ev’n from the grave’s dark verge we forward throw Our straining, wishful eyes on those we leave, And with their future fame our sinking hearts relieve. But soon, too soon, these fond illusions fled! In vain they pointed out that pious height; By Nature’s strong resistless impulse led, These dull dry doctrines ever would he slight. Wild Fancy form’d him for fantastic flight ; He lov’d the steep’s high summit to explore, To watch the splendor of the orient bright, The dark deep forest, and the sea-beat shore, Where thro’ resounding rocks the liquid mountains roar. When gath’ring clouds the vaults of Heav’n o’er- spread, And op’ning streams of livid lightning flew, From some o’erhanging cliff the uproar dread, Transfix’d rapt’rous wonder, he would view. When the red torrent big and bigger grew, Or deep’ning snows for days obscur’d the air, Still with the storm his transports would renew. Roar, pour away! was still his eager pray’r, While shiv’ring swains around were sinking in de- spair. That worldly gift which misers merit call, But wise men cunning and the art of trade, That scheming foresight how to scrape up all, How pence may groats, and shillings pounds be made, As little knew he as the moorland maid Who ne’er beheld a cottage but her own: POEMS 169 Sour Parsimony’s words he seldom weigh’d, His heart’s warm impulse was the guide alone, When suffering friendship sigh’d, or weeping wretch did moan. Dear, dear to him Affection’s ardent glow, Alas! from all he lov’d for ever torn, E’en now, as Memory’s sad reflections flow, Deep grief o’erwhelms him and he weeps forlorn; By hopeless thought, by wasting sorrow worn, Around on Nature’s scenes he turns his eye, Charm’d with her peaceful eve, her fragrant morn, Her green magnificence, her gloomiest sky, That fill th’ exulting soul with admiration high. One charming nymph with transport he adores, Fair Science, crown’d with many a figur’d sign; Her smiles, her sweet society implores, And mixes jocund with th’ encircling nine; While Mathematics solves his dark design, Sweet Music soothes him with her syren strains, Seraphic Poetry with warmth divine, Exalts him far above celestial plains, And Painting’s fairy hand his mimic pencil trains. Adown each side of his sequester’d cot, Two bubbling streamlets wind their rocky way, And mingling as they leave this rural spot, Down thro’ a woody vale meandering stray, Round many a moss-grown rock they dimpling play, Where laurel thickets clothe the steeps around, And oaks thick, towering quite shut out the day, And spread a venerable gloom profound, Made still more sweetly solemn by the riv’let’s sound. 170 ALEXANDER WILSON: POET-NATURALIST Where down smooth glistening rocks it rambling pours, Till in a pool its silent waters sleep, A dark brown cliff o’ertopped with fern and flowers, Hangs grimly frowning o’er the glassy deep; Above thro’ ev’ry chink the woodbines creep, And smooth bark beeches spread their arms around. Whose roots cling twisted round the rocky steep: A more sequester’d scene is no where found, For contemplation deep and silent thought profound. Here many a tour the lonely tutor takes, Long known to Solitude, his partner dear, For rustling woods his empty school forsakes, At morn, still noon, and silent evening clear. Wild Nature’s scenes amuse his wand’rings here; The old gray rocks that overhang the stream, The nodding flow’rs that on their peaks appear, Plants, birds, and insects are a feast to him, Howe’er obscure, deform’d, minute, or huge they seem. Sweet rural scenes! unknown to poet’s song, Where Nature’s charm in rich profusion lie, Birds, fruits, and flowers, an ever pleasing throng, Deny’d to Britain’s bleak and northern sky. Here Freedom smiles serene with dauntless eye, And leads the exil’d stranger thro’ her groves, Assists to sweep the forest from on high, And gives to man the fruitful field he loves, Where proud imperious lord or tyrant never roves. In these green solitudes one fav’rite spot Still draws his slow meanderings that way, A mossy cliff beside a little grot, : Where two clear springs burst out upon the day. There overhead the beechen branches play, oe -— 7 POEMS | 171 And from the rock the clustered columbine, While deep below the brook is seen to stray, O’erhung with alders, briar, and mantling vine, While on th’ adjacent banks the glossy laurels shine. Here Milton’s heavenly themes delight his soul, Or Goldsmith’s simple heart-bewitching lays; Now drives with Cook around the frozen pole, Or follows Bruce with marvel and amaze: Perhaps Rome’s splendour sadly he surveys, Or Britain’s scenes of cruelty and kings; Thro’ Georgia’s groves with gentle Bartram strays, Or mounts with Newton on archangels’ wings, With manly Smollet laughs, with jovial Dibdin sings. The air serene, and breathing odours sweet, The sound of falling streams, and humming bees, Wild choirs of songsters round his rural seat, To souls like his have ev’ry pow’r to please. The shades of night with rising sigh he sees Obscure the stream and leafy scenes around, And homeward wending thro’ the moon-lit trees, The owl salutes him with her trem’lous sound, And many a flutt’ring bat pursues its mazy round. Thus peaceful pass his lonely hours away; Thus, in retirement from his school affairs, He tastes a bliss unknown to worldings gay, A soothing antidote for all his cares. Adoring Nature’s God, he joyous shares With happy millions Freedom’s fairest scene, His ev’ning hymn some plaintive Scottish airs, Breath’d from the flute or melting violin, With life-inspiring reels and wanton jigs between. WATTY AND MEG A TALE “We dream in courtship, but in wedlock wake.”—Pope. Keen the frosty winds were blawing, Deep the snaw had wreath’d the ploughs; Watty, weary’d a’ day sawing, Daunert! down to Mungo Blue’s. Dryster Jock was sitting cracky,? Wi’ Pate Tamson o’ the Hill; “Come awa’,” quo’ Johnny, “Watty! Haith we’se hae anither gill.” Watty, glad to see Jock Jabos, And sae mony neibours roun’, Kicket frae his shoon the snawbas, Syne ayont® the fire sat down. Owre a broad wi’ bannocks heapet, Cheese, and stoups, and glasses stood ; Some were roaring, ithers sleepit, Ithers quietly chewt their cude.* Jock was selling Pate some tallow, A’ the rest a racket hel’, A’ but Watty, wha, poor fallow! Sat and smoket by himsel’. Mungo fill’d him up a toothfu’, Drank his health and Meg’s in ane; Watty, puffing out a mouthfu’, Pledged him wi’ a dreary grane. 1 Strolled. 2 “Jokey.” 8 Then before. *Chewed their cud. a a POEMS 173 “What’s the matter, Watty, wi’ you? Trouth your chafts® are fa’ing in! Something’s wrang—I’m vex’d to see you— Gudesake! but ye’re desp’rate thin !” ? “Ay,” quo’ Watty, “things are alter’d, But it’s past redemption now; Lord! I wish I had been halter’d When I marry’d Maggy Howe! “T’ve been poor, and vex’d, and raggy, Try’d wi’ troubles no that sma’; Them I bore—but marrying Maggy Laid the cap-stane o’ them a’. “Night and day she’s ever yelping, With the weans® she ne’er can gree; When she’s tired with perfect skelping,’ Then she flees like fire on me. “See ye, Mungo! when she'll clash on® With her everlasting clack,® Whiles I’ve had my neive,*® in passion, Lifted up to break her back.” “QO, for Gudesake, keep frae cuffets !” Mungo shook his head and said: “Weel I ken what sort of life it’s; Ken ye, Watty, how I did?— “After Bess and I were kippled, Soon she grew like ony bear; Bark my shins, and, when I tippled, Harl’t out my very hair! od Cheeks. 6 Children. 7 Whipping. 8 Chatter. ® Din. 1° Clenched fist. 174 ALEXANDER WILSON: POET-NATURALIST “For a wee I quietly knuckled, But when naething would prevail, Up my claes and cash I buckled, Bess, for ever fare-ye-weel— “Then her din grew less and less aye, Haith I gart her change her tune; Now a better wife than Bessy Never stept in leather shoon. “Try this, Watty—When ye see her Raging like a roaring flood, Swear that moment that ye’ll lea’ her; That’s the way to keep her good.” Laughing, sangs, and lasses’ skirls,1 Echo’d now out-thro’ the roof; “Done!” quo’ Pate, and syne his erls’* Nail’d the Dryster’s wauked loof.** In the thrang of stories telling, Shaking hauns, and ither cheer; Swith! a chap comes on the hallan," “Mungo, is our Watty here?” Maggy’s well kent tongue and hurry, Darted thro’ him like a knife; Up the door flew—like a Fury In came Watty’s scawling wife. “Nasty, gude-for-naething being! O ye snuffy, drucken sow! Bringing wife and weans to ruin, Drinking here wi’ sic a crew! 11 Peals of laughter. 12 Pledge money. 18 Hardened palm. 14 Outside-door. POEMS 4 175 “Devil, nor your legs were broken! Sic a life nae flesh endures; Toiling like a slave to sloken You, you dyvor,® and your *hores! “Rise, ye drunken beast o’ Bethel! Drink’s your night and day’s desire; Rise, this precious hour! or faith, [ll Fling your whiskey i’ the fire!” Watty heard her tongue unhallow’d, Pay’d his groat wi’ little din; Left the house, while Maggy fallow’d, Flytin’® a’ the road behin’. Fowk frae every door came lamping ;"7 Maggy curst them ane anda’; - Clappet wi’ her hands, and stamping, Lost her bauchles*® i’ the sna’. Hame, at length she turn’d the gavel, Wi’ a face as white’s a clout ;?° Raging like a very devil, Kicking stools and chairs about. “Ye'll sit wi’ your limmers round you! Hang you, sir? I'll be your death! Little hauds*® my hands, confound you, But I cleave you to the teeth!” Watty, wha’ midst this oration, Ey’d her whiles, but durstna speak, Sat like patient Resignation, Trem’ling by the ingle cheek.*4 2% Drunkard. 18 Scolding. 17 Striding. 38 Slippers. 19 Cloth. 2» Holds. 21 Fireside. 176 ALEXANDER WILSON: POEI-NATURALIST babe FE 8 : Sad his wee drap brose he sippet, Maggy’s tongue gaed like a bell; Quietly to his bed he slippet, Sighing aften to himsel’: “Nane are free frae some vexation, Ilk ane has his ills to dree ;?* But thro’ a’ the hale creation Is a mortal vexed like me!” A’ night lang he rowt and gaunted, Sleep or rest he cou’dna tak; Maggy, aft wi’ horror haunted, Mum’ling, started at his back. Soon as e’er the morning peepit, Up raise Watty, waefu’ chiel ;?* Kist his weanies, while they sleepit, Wauken’d Meg, and sought fareweel. “Farewell, Meg !—and, O, may Heaven Keep you aye within His care; Watty’s heart ye’ve lang been grievin’, Now he’ll never fash** you mair. “Happy cou’d I been beside you, Happy, baith at morn and e’en; A’ the ills that e’er betide you, Watty aye turn’d out your frien’ ; “But ye ever like to see me Vext and sighing, late and air; Farewell, Meg! I’ve sworn to lea’ thee, So thou’ll never see me mair.” 22 Endure. “Fellow, .§ % Disturb. POEMS 177 Meg, a’ sabbin sae to lose him, Sic a change had never wist ; Held his hand close to her bosom, While her heart was like to burst. “OQ, my Watty, will ye lea’ me, Frien’less, helpless, to despair ? O! for this ae time forgi’e me: Never will I vex ye mair.” “Ay! ye’ve aft said that, and broken A’ your vows ten times a week ; No, no, Meg! See, there’s a token Glittering on my bonnet cheek. “Owre the seas I march this morning, Listed, tested, sworn and a’; Forced by your confounded girning— 999 Farewell, Meg! for I’m awa’. Then poor Maggy’s tears and clamour Gush afresh and louder grew; While the weans, wi’ mournfu’ yaumour,”® Round their sabbing mother flew. “Thro’ the yirth?* I’ll waunner wi’ you— Stay, O Watty! stay at hame; Here upo’ my knees I'll gi’e you Ony vow ye like to name; “See your poor young lamies pleadin’, Will ye gang and break our heart? No a house to put our head in! No a friend to take our part!” 5 Uproar. 28 Farth. I2 178 ALEXANDER WILSON: POET-NATURALIST Ilka word came like a bullet, Watty’s heart begoud to shake; On a kist?* he laid his wallet, Dighted?® baith his een and spake,— “Tf ance mair I cou’d, by writing, Lea’ the sogers, and stay still; Wad you swear to drop your flyting?” “Yes, O Watty! yes, I will.” “Then,” quo Watty, “mind, be honest; Aye to keep your temper strive; Gin you break this dreadfu’ promise, Never mair expect to thrive; “Marget Howe! this hour ye solemn Swear by everything that’s gude, Ne’er again your spouse to scal’® him, While life warms your heart and blood; “That you'll ne’er in Mungo’s seek me; Ne’er put drucken to my name: Never out at e’ening steek®® me; Never gloom when I come hame; “That ye’ll ne’er like Bessy Miller, Kick my shins, or rug** my hair; Lastly, I’m.to keep the siller ;??__. This upon your saul you swear ?” “O-h!” quo’ Meg; “Awell,” quo’ Watty, Farewell! faith, I’ll try the seas ;” “O stand still,” quo’ Meg, and grat®* aye; “Ony, ony way ye please.” 7 Chest. % Wiped. ® Scold. 8° Lock. 31 Pull, 82 Silver. 88 Cried. POEMS Maggy syne,** because he prest her, Swore to a’ thing o’er Watty lap,** and danc’d, and kist her ; Wow! but he was won’rous fain. Down he threw his staff, victorious ; Aff gaed bonnet, claes, and shoon; Syne below the blankets, glorious, Held anither Hinnymoon! 179 * Then, % Leaped. an - yt re PLEASE DO NOT REMOVE CARDS OR SLIPS FROM THIS POCKET UNIVERSITY OF TORONTO LIBRARY go" i Pa PUTER Py pat Ne 1 EM mi oF) we hier iwa? 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