perished.
Anne Bradstreet.—There was, however, belonging to this primal literary period, one poet who, in some worthy sense, found in poetry a vocation. The first professional poet of New England was a woman. In the year 1650 there was published, in London, a book of poems written by a gifted young woman of the New England wilderness, Anne Bradstreet by name. She was born in England, in 1612. She was the laborious wife of a New England farmer, the mother of eight children, and herself from childhood of a delicate constitution. The most of her poems were produced between 1630 and 1642, that is, before she was thirty years old; and during these years she had neither leisure, nor elegant surroundings, nor freedom from anxious thoughts, nor even abounding health. Somehow, during her busy lifetime, she contrived to put upon record compositions numerous enough to fill a royal octavo volume of 400 pages—compositions which entice and reward our reading of them, two hundred years after she lived.
II. SECOND PERIOD (1676–1765)
The Two Periods.—I have taken the year 1676 as the year of partition between the two periods into which our colonial age seems to fall. Before 1676, the new civilisation in America was principally in the hands of Americans born in England; after 1676, it was principally in the hands of Americans born in America, and the subjects of such training as was to be had here. Our first colonial period, therefore, transmits to us a body of writings produced by immigrant Americans; preserving for us the ideas, the moods, the efforts, the very phrases of the men who founded the American nation; representing to us, also, the earliest literary results flowing from the reactions of life in the New World upon an intellectual culture formed in the Old World. Our second colonial period does more: it transmits to us a body of writings, produced in the main by the American children of those immigrants, and representing the earliest literary results flowing from the reactions of life in the New World upon an intellectual culture that was itself formed in the New World.
Our first colonial period, just seventy years long, we have now briefly examined. For my part, I have no apology to make for it: I think it needs none. It was a period principally engaged in other tasks than the tasks of the pen; it laid, quietly and well, the foundation of a new social structure that was to cover a hemisphere, was to give shelter and comfort to myriads of the human race, was to endure to centuries far beyond the gropings of our guesswork. Had it done that deed alone, and left no written word at all, not any man since then could have wondered; still less could any man have flung at it the reproach of intellectual lethargy or neglect. But if, besides what it did in the founding of a new commonwealth, we consider what it also did in the founding of a new literature—the muchness of that special work, the downright merit of it—we shall find it hard to withhold from that period the homage of our admiration.
From the year 1676, when our first colonial period ends, there stretches onward a space of just eighty-nine years, at the end of which the American colonies underwent a swift and portentous change—losing, all at once, their colonial content, and passing suddenly into the earlier and the intellectual stage of their struggle for independence. This space of eighty-nine years forms, of course, our second colonial period.
New England Verse-Writers.—Urian Oakes, born in 1631, was reared in the woods of Concord. The splendid literary capacity of this early American—this product of our pioneer and autochthonous culture—is seen in this: as his sermons are among the noblest specimens of prose to be met with, in that class of writings, during the colonial time, so the one example that is left to us of his verse reaches the highest point touched by American poetry during the same era. The poem thus referred to is an elegy upon the death of a man to whom the poet seems to have been bound by the tenderest friendship—a poem in fifty-two six-lined stanzas; not without some mechanical defects; blurred also by some patches of the prevailing theological jargon; yet, upon the whole, affluent, stately, pathetic; beautiful and strong with the beauty and strength of true imaginative vision.
In contemporaneous renown, far above all other verse-writers of the colonial time, was Michael Wigglesworth, the explicit and unshrinking rhymer of the Five Points of Calvinism; a poet who so perfectly uttered in verse the religious faith and emotion of Puritan New England that, for more than a hundred years, his writings had universal diffusion there, and a popular influence only inferior to that of the Bible and the Shorter Catechism. No one holding a different theology from that held by Michael Wigglesworth can do justice to him as a poet, without exercising the utmost intellectual catholicity. His verse is quite lacking in art; its ordinary form being a crude, swinging ballad-measure, with a sort of cheap melody, a shrill, reverberating clatter, that would instantly catch and please the popular ear, at that time deaf to daintier and more subtile effects in poetry. In the multitude of his verses, Michael Wigglesworth surpasses all other poets of the colonial time, excepting Anne Bradstreet. Besides numerous minor poems, he is the author of three poetical works of considerable length. One of these, God’s Controversy with New England, was “written in the time of the great drought,” 1662. The argument of the poem is this: “New England planted, prospered, declining, threatened, punished.” The poet holds the opinion, common enough in his day, that before the arrival of the English in America, this continent had been the choice and peculiar residence of the Devil and his angels. Another large poem of Wigglesworth’s is Meat out of the Eater; or, Meditations concerning the Necessity, End, and Usefulness of Afflictions unto God’s Children, all tending to prepare them for and comfort them under the Cross. Here we have simply the Christian doctrine of comfort in sorrow, translated into metrical jingles. It was first published, probably, in 1669; ten years afterward, it had passed through at least four editions; and during the entire colonial age, it was a much-read manual of solace in affliction. But the masterpiece of Michael Wigglesworth’s genius, and his most delectable gift to an admiring public, was that blazing and sulphurous poem, The Day of Doom; or, A poetical Description of the great and last Judgment. This great poem, which, with entire unconsciousness, attributes to the Divine Being a character the most execrable and loathsome to be met with, perhaps, in any literature, Christian or pagan, had for a hundred years a popularity far exceeding that of any other work, in prose or verse, produced in America before the Revolution. The eighteen hundred copies of the first edition were sold within a single year; which implies the purchase of a copy of The Day of Doom by at least every thirty-fifth person then in New England—an example of the commercial success of a book never afterward equalled in this country. Since that time, the book has been repeatedly published; at least once in England, and at least eight times in America—the last time being in 1867.
The Dynasty of the Mathers.—At the time of his arrival in Boston—August, 1635—Richard Mather was thirty-nine years of age; a man of extensive and precise learning in the classics, in the Scriptures, and in divinity; already a famous preacher. This man, “the progenitor of all the Mathers in New England,” and the first of a line of great preachers and great men of letters that continued to hold sway there through the entire colonial era, had in himself the chief traits that distinguished his family through so long a period;—great physical endurance, a voracious appetite for the reading of books, an alarming propensity to the writing of books, a love of political leadership in church and state, the faculty of personal conspicuousness, finally, the homiletic gift. His numerous writings were, of course, according to the demand of his time and neighbourhood;—sermons, a catechism, a treatise on justification, public letters upon church government, several controversial documents, the preface to the Old Bay Psalm Book, and many of the marvels of metrical expression to be viewed in the body of that work.
Of the six sons of Richard Mather, four became famous preachers, two of them in Ireland and in England, other two in New England; the greatest of them all being the youngest, born at Dorchester, June 21, 1639, and at his birth adorned with the name of Increase, in graceful recognition of “the increase of every sort, wherewith God favoured the country about the time of his nativity.” Even in childhood he began to display the strong and eager traits that gave distinction and power to his whole life, and that bore him impetuously through the warfare of eighty-four mortal years. In 1657, on his eighteenth birthday, he preached in his father’s pulpit his first sermon. From 1661 to 1664 he divided his services between