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The Garrison Of Cape Ann

From the hills of home forth looking, far beneath the tent-like spanOf the sky, I see the white gleam of the headland of Cape Ann.Well I know its coves and beaches to the ebb-tide glimmering down,And the white-walled hamlet children of its ancient fishing town.
Long has passed the summer morning, and its memory waxes old,When along yon breezy headlands with a pleasant friend I strolled.Ah! the autumn sun is shining, and the ocean wind blows cool,And the golden-rod and aster bloom around thy grave, Rantoul!
With the memory of that morning by the summer sea I blendA wild and wondrous story, by the younger Mather penned,In that quaint Magnalia Christi, with all strange and marvellous things,Heaped up huge and undigested, like the chaos Ovid sings.
Dear to me these far, faint glimpses of the dual life of old,Inward, grand with awe and reverence; outward, mean and coarse and cold;Gleams of mystic beauty playing over dull and vulgar clay,Golden-threaded fancies weaving in a web of hodden gray.
The great eventful Present hides the Past; but through the dinOf its loud life hints and echoes from the life behind steal in;And the lore of homeland fireside, and the legendary rhyme,Make the task of duty lighter which the true man owes his time.
So, with something of the feeling which the Covenanter knew,When with pious chisel wandering Scotland's moorland graveyards through,From the graves of old traditions I part the black- berry-vines,Wipe the moss from off the headstones, and retouch the faded lines.
Where the sea-waves back and forward, hoarse with rolling pebbles, ran,The garrison-house stood watching on the gray rocks of Cape Ann;On its windy site uplifting gabled roof and palisade,And rough walls of unhewn timber with the moonlight overlaid.
On his slow round walked the sentry, south and eastward looking forthO'er a rude and broken coast-line, white with breakers stretching north,-Wood and rock and gleaming sand-drift, jagged capes, with bush and tree,Leaning inland from the smiting of the wild and gusty sea.
Before the deep-mouthed chimney, dimly lit by dying brands,Twenty soldiers sat and waited, with their muskets in their hands;On the rough-hewn oaken table the venison haunch was shared,And the pewter tankard circled slowly round from beard to beard.
Long they sat and talked together,-talked of wizards Satan-sold;Of all ghostly sights and noises,-signs and wonders manifold;Of the spectre-ship of Salem, with the dead men in her shrouds,Sailing sheer above the water, in the loom of morning clouds;
Of the marvellous valley hidden in the depths of Gloucester woods,Full of plants that love the summer,-blooms of warmer latitudes;Where the Arctic birch is braided by the tropic's flowery vines,And the white magnolia-blossoms star the twilight of the pines!
But their voices sank yet lower, sank to husky tones of fear,As they spake of present tokens of the powers of evil near;Of a spectral host, defying stroke of steel and aim of gun;Never yet was ball to slay them in the mould of mortals run.
Thrice, with plumes and flowing scalp-locks, from the midnight wood they came,-Thrice around the block-house marching, met, unharmed, its volleyed flame;Then, with mocking laugh and gesture, sunk in earth or lost in air,All the ghostly wonder vanished, and the moonlit sands lay bare.
Midnight came; from out the forest moved a dusky mass that soonGrew to warriors, plumed and painted, grimly marching in the moon.'Ghosts or witches,' said the captain, 'thus I foil the Evil One!'And he rammed a silver button, from his doublet, down his gun.
Once again the spectral horror moved the guarded wall about;Once again the levelled muskets through the palisades flashed out,With that deadly aim the squirrel on his tree-top might not shun,Nor the beach-bird seaward flying with his slant wing to the sun.
Like the idle rain of summer sped the harmless shower of lead.With a laugh of fierce derision, once again the phantoms fled;Once again, without a shadow on the sands the moonlight lay,And the white smoke curling through it drifted slowly down the bay!
'God preserve us!' said the captain; 'never mortal foes were there;They have vanished with their leader, Prince and Power of the air!Lay aside your useless weapons; skill and prowess naught avail;They who do the Devil's service wear their master's coat of mail!'
So the night grew near to cock-crow, when again a warning callRoused the score of weary soldiers watching round the dusky hallAnd they looked to flint and priming, and they longed for break of day;But the captain closed his Bible: 'Let us cease from man, and pray!'
To the men who went before us, all the unseen powers seemed near,And their steadfast strength of courage struck its roots in holy fear.Every hand forsook the musket, every head was bowed and bare,Every stout knee pressed the flag-stones, as the captain led in prayer.
Ceased thereat the mystic marching of the spectres round the wall,But a sound abhorred, unearthly, smote the ears and hearts of all,-Howls of rage and shrieks of anguish! Never after mortal manSaw the ghostly leaguers marching round the block-house of Cape Ann.
So to us who walk in summer through the cool and sea-blown town,From the childhood of its people comes the solemn legend down.Not in vain the ancient fiction, in whose moral lives the youthAnd the fitness and the freshness of an undecaying truth.
Soon or late to all our dwellings come the spectres of the mind, Doubts and fears and dread forebodings, in the darkness undefined;Round us throng the grim projections of the heart and of the brain,And our pride of strength is weakness, and the cunning hand is vain.
In the dark we cry like children; and no answer from on highBreaks the crystal spheres of silence, and no white wings downward fly;But the heavenly help we pray for comes to faith, and not to sight,And our prayers themselves drive backward all the spirits of the night!

About the author

John Greenleaf Whittier photo
John Greenleaf Whittier
483 works

About the poet

John Greenleaf Whittier was an influential American Quaker poet and ardent advocate of the abolition of slavery in the United States. He is usually listed as one of the Fireside Poets. Whittier was strongly influenced by the Scottish poet Robert Burns. Highly regarded in his lifetime and for a period thereafter, he is now remembered for his poem Snow-Bound, and the words of the hymn Dear Lord and Father of Mankind, from his poem The Brewing of Soma, sung to music by Hubert Parry.


Early Life and Work

John Greenleaf Whittier was born to John and Abigail (Hussey) at their rural homestead near Haverhill, Massachusetts, on December 17, 1807. He grew up on the farm in a household with his parents, a brother and two sisters, a maternal aunt and paternal uncle, and a constant flow of visitors and hired hands for the farm. Their farm was not very profitable. There was only enough money to get by. Whittier himself was not cut out for hard farm labor and suffered from bad health and physical frailty his whole life. Although he received little formal education, he was an avid reader who studied his father’s six books on Quakerism until their teachings became the foundation of his ideology. Whittier was heavily influenced by the doctrines of his religion, particularly its stress on humanitarianism, compassion, and social responsibility.

Whittier was first introduced to poetry by a teacher. His sister sent his first poem, "The Exile's Departure", to the Newburyport Free Press without his permission and its editor, William Lloyd Garrison, published it on June 8, 1826. As a boy, it was discovered that Whittier was color-blind when he was unable to see a difference between ripe and unripe strawberries. Garrison as well as another local editor encouraged Whittier to attend the recently-opened Haverhill Academy. To raise money to attend the school, Whittier became a shoemaker for a time, and a deal was made to pay part of his tuition with food from the family farm. Before his second term, he earned money to cover tuition by serving as a teacher in a one-room schoolhouse in what is now Merrimac, Massachusetts. He attended Haverhill Academy from 1827 to 1828 and completed a high school education in only two terms.

Garrison gave Whittier the job of editor of the National Philanthropist, a Boston-based temperance weekly. Shortly after a change in management, Garrison reassigned him as editor of the weekly American Manufacturer in Boston. Whittier became an out-spoken critic of President Andrew Jackson, and by 1830 was editor of the prominent New England Weekly Review in Hartford, Connecticut, the most influential Whig journal in New England. In 1833 he published The Song of the Vermonters, 1779, which he had anonymously inserted in The New England Magazine. The poem was erroneously attributed to Ethan Allen for nearly sixty years.

Abolitionist Activity

During the 1830s, Whittier became interested in politics, but after losing a Congressional election in 1832, he suffered a nervous breakdown and returned home at age twenty-five. The year 1833 was a turning point for Whittier; he resurrected his correspondence with Garrison, and the passionate abolitionist began to encourage the young Quaker to join his cause.

In 1833, Whittier published the antislavery pamphlet Justice and Expediency, and from there dedicated the next twenty years of his life to the abolitionist cause. The controversial pamphlet destroyed all of his political hopes—as his demand for immediate emancipation alienated both northern businessmen and southern slaveholders—but it also sealed his commitment to a cause that he deemed morally correct and socially necessary. He was a founding member of the American Anti-Slavery Society and signed the Anti-Slavery Declaration of 1833, which he often considered the most significant action of his life.

Whittier's political skill made him useful as a lobbyist, and his willingness to badger anti-slavery congressional leaders into joining the abolitionist cause was invaluable. From 1835 to 1838, he traveled widely in the North, attending conventions, securing votes, speaking to the public, and lobbying politicians. As he did so, Whittier received his fair share of violent responses, being several times mobbed, stoned, and run out of town. From 1838 to 1840, he was editor of The Pennsylvania Freeman in Philadelphia, one of the leading antislavery papers in the North, formerly known as the National Enquirer. In May 1838, the publication moved its offices to the newly-opened Pennsylvania Hall on North Sixth Street, which was shortly after burned by a pro-slavery mob. Whittier also continued to write poetry and nearly all of his poems in this period dealt with the problem of slavery.

By the end of the 1830s, the unity of the abolitionist movement had begun to fracture. Whittier stuck to his belief that moral action apart from political effort was futile. He knew that success required legislative change, not merely moral suasion. This opinion alone engendered a bitter split from Garrison, and Whittier went on to become a founding member of the Liberty Party in 1839. By 1843, he was announcing the triumph of the fledgling party: "Liberty party is no longer an experiment. It is vigorous reality, exerting... a powerful influence". Whittier also unsuccessfully encouraged Ralph Waldo Emerson and Henry Wadsworth Longfellow to join the party. He took editing jobs with the Middlesex Standard in Lowell, Massachusetts and the Essex Transcript in Amesbury until 1844. While in Lowell, he met Lucy Larcom, who became a lifelong friend.

In 1845, he began writing his essay "The Black Man" which included an anecdote about John Fountain, a free black who was jailed in Virginia for helping slaves escape. After his release, Fountain went on a speaking tour and thanked Whittier for writing his story.

Around this time, the stresses of editorial duties, worsening health, and dangerous mob violence caused him to have a physical breakdown. Whittier went home to Amesbury, and remained there for the rest of his life, ending his active participation in abolition. Even so, he continued to believe that the best way to gain abolitionist support was to broaden the Liberty Party’s political appeal, and Whittier persisted in advocating the addition of other issues to their platform. He eventually participated in the evolution of the Liberty Party into the Free Soil Party, and some say his greatest political feat was convincing Charles Sumner to run on the Free-Soil ticket for the U.S. Senate in 1850.

Beginning in 1847, Whittier was editor of Gamaliel Bailey's The National Era, one of the most influential abolitionist newspapers in the North. For the next ten years it featured the best of his writing, both as prose and poetry. Being confined to his home and away from the action offered Whittier a chance to write better abolitionist poetry; he was even poet laureate for his party. Whittier's poems often used slavery to symbolize all kinds of oppression (physical, spiritual, economic), and his poems stirred up popular response because they appealed to feelings rather than logic.

Whittier produced two collections of antislavery poetry: Poems Written during the Progress of the Abolition Question in the United States, between 1830 and 1838 and Voices of Freedom (1846). He was an elector in the presidential election of 1860 and of 1864, voting for Abraham Lincoln both times.

The passage of the Thirteenth Amendment in 1865 ended both slavery and his public cause, so Whittier turned to other forms of poetry for the remainder of his life.

Later Life

Whittier was one of the founding contributors of the magazine Atlantic Monthly

One of his most enduring works, Snow-Bound, was first published in 1866. Whittier was surprised by its financial success, earning some $10,000 from the first edition. In 1867, Whittier asked James Thomas Fields to get him a ticket to a reading by Charles Dickens during the British author's visit to the United States. After the event, he wrote a letter describing his experience:

My eyes ached all next day from the intensity of my gazing. I do not think his voice naturally particularly fine, but he uses it with great effect. He has wonderful dramatic power... I like him better than any public reader I have ever before heard.
Whittier spent the last few winters of his life, from 1876 to 1892, at Oak Knoll, the home of his cousins in Danvers, Massachusetts. Whittier died on September 7, 1892, at a friend's home in Hampton Falls, New Hampshire. He is buried in Amesbury, Massachusetts.


Whittier's first two published books were Legends of New England (1831) and the poem Moll Pitcher (1832). In 1833 he published The Song of the Vermonters, 1779, which he had anonymously inserted in The New England Magazine. The poem was erroneously attributed to Ethan Allen for nearly sixty years. This use of poetry in the service of his political beliefs is illustrated by his book Poems Written during the Progress of the Abolition Question.

Highly regarded in his lifetime and for a period thereafter, he is now largely remembered for his patriotic poem Barbara Frietchie, Snow-Bound, and a number of poems turned into hymns. Of these the best known is Dear Lord and Father of Mankind, taken from his poem The Brewing of Soma. As such it has become extremely popular sung to the English composer Hubert Parry's tune Repton taken from the 1888 oratorio Judith and set to the latter part of Whittier's poem in 1924 by Dr George Gilbert Stocks. It is also sung as the hymn Rest, by Frederick Maker, and Charles Ives also set a part of it to music.

On its own, the hymn appears sentimental, though in the context of the entire poem, the stanzas make greater sense, being intended as a contrast with the fevered spirit of pre-Christian worship and that of some modern Christians.
Whittier's Quaker universalism is better illustrated,however, by the hymn that begins:

O Brother Man, fold to thy heart thy brother:
Where pity dwells, the peace of God is there;
To worship rightly is to love each other,
Each smile a hymn, each kindly word a prayer.

His sometimes contrasting sense of the need for strong action against injustice can be seen in his poem "To Rönge" in honor of Johannes Ronge, the German religious figure and rebel leader of the 1848 rebellion in Germany:

Thy work is to hew down. In God's name then:
Put nerve into thy task. Let other men;
Plant, as they may, that better tree whose fruit,
The wounded bosom of the Church shall heal.

Whittier's poem "At Port Royal 1861" describes the experience of Northern abolitionists arriving at Port Royal, South Carolina, as teachers and missionaries for the slaves who had been left behind when their owners fled because the Union Navy would arrive to blockade the coast. The poem includes the "Song of the Negro Boatmen," written in dialect:

Oh, praise an' tanks! De Lord he come
To set de people free;
An' massa tink it day ob doom,
An' we ob jubilee.
De Lord dat heap de Red Sea waves
He jus' as 'trong as den;
He say de word: we las' night slaves;
To-day, de Lord's freemen.
De yam will grow, de cotton blow,
We'll hab de rice an' corn:
Oh, nebber you fear, if nebber you hear
De driver blow his horn!

Of all the poetry inspired by the Civil War, the "Song of the Negro Boatmen" was one of the most widely printed, and though Whittier never actually visited Port Royal, an abolitionist working there described his "Song of the Negro Boatmen" as "wonderfully applicable as we were being rowed across Hilton Head Harbor among United States gunboats."


Nathaniel Hawthorne dismissed Whittier's Literary Recreations and Miscellanies (1854): "Whittier's book is poor stuff! I like the man, but have no high opinion either of his poetry or his prose." Editor George Ripley, however, found Whittier's poetry refreshing and said it had a "stately movement of versification, grandeur of imagery, a vein of tender and solemn pathos, cheerful trust" and a "pure and ennobling character". Boston critic Edwin Percy Whipple noted Whittier's moral and ethical tone mingled with sincere emotion. He wrote, "In reading this last volume, I feel as if my soul had taken a bath in holy water." Later scholars and critics questioned the depth of Whittier's poetry. One was Karl Keller, who noted, "Whittier has been a writer to love, not to belabor."


Whittier's family farm, known as the John Greenleaf Whittier Homestead or simply "Whittier's Birthplace", is now a historic site open to the public. His later residence in Amesbury, where he lived for 56 years, is also open to the public, now known as the John Greenleaf Whittier Home. Whittier's hometown of Haverhill has named many buildings and landmarks in his honor including J.G. Whittier Middle School, Greenleaf Elementary, and Whittier Regional Vocational Technical High School. Numerous other schools around the country also bear his name.

A bridge named for Whittier, built in the style of the Sagamore and Bourne Bridges spanning Cape Cod Canal, carries Interstate 95 from Amesbury to Newburyport over the Merrimack River. A covered bridge spanning the Bearcamp River in Ossipee, New Hampshire is also named for Whittier, as is a nearby mountain.

The city of Whittier, California is named after the poet, as are the communities of Whittier, Alaska, and Whittier, Iowa, the Minneapolis neighborhood of Whittier, the Denver, Colorado, neighborhood of Whittier, and the town of Greenleaf, Idaho. Both Whittier College and Whittier Law School are also named after him. A park in the Saint Boniface area of Winnipeg is named after the poet in recognition of his poem "The Red River Voyageur".

The alternate history story P.'s Correspondence (1846) by Nathaniel Hawthorne, considered the first such story ever published in English, includes the notice "Whittier, a fiery Quaker youth, to whom the muse had perversely assigned a battle-trumpet, got himself lynched, in South Carolina". The date of that event in Hawthorne's invented timeline was 1835.

as strongly influenced by the Scottish poet Robert Burns. Highly regarded in his lifetime and for a
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