value upon existing political organizations. "From first to last," says his biographer, "he refused to couie out from his party until he had done all that could be done to induce it to assist in the work of reform," and Whittier himself, in an article written about this time, exclaims, "What an absurdity is moral action apart from political!" meaning of course when dealing with those subjects which demand political action. Once more, in a letter written to the anti-Texas convention of 1845, he said that though as an abolitionist he was no blind worshiper of the Union, he saw nothing to be gained by an effort, necessarily limited and futile, to dissolve it. The moral and political power requisite for dissolving the Union could far more easily abolish every vestige of slavery.
We have anticipated a little in these comments the strict order of Whittier's life. In 1836 was published the first boimd volume of his verse. It was confined to his poem "Mogg Megone," which he had before printed in the "New England Magazine." It may be taken as the last expression of Whittier's poetic mind before the great change came over it of which we have spoken, and he was himself later so aware of its lack of genuine life that in collecting finally his writings he buried this so far as he could in the fine type of an appendix; but at the end of 1837 Isaac Knapp, publisher of the " Liberator," Garrison's paper, to which Whittier had been contributing his stirring verses, without consulting the poet, issued a volume of over a hundred pages, entitled "Poems written during the Progress of the Abolition Question in the United States, between the Years 1830 and 1838. By John G. Whittier." This was the first collection of his miscellaneous poems, and a year later another volume was issued by Joseph Healy, the financial agent of the Anti-Slavery Society of Pennsylvania. Meanwhile Whittier had been staying awhile in Philadelphia, engaged in editing the "Pennsylvania Freeman." It was during this time that Pennsylvania Hall was burnt by a mob enraged at the gathering there of an anti-slavery convention. Besides his work on the paper, which was frequently interrupted by ill health, he devoted himself in other ways to the promotion of the cause in which he was so ardently involved, but early in 1840 he found it imperative to give up all this work and retire to his home in Amesbury.
From this time forward he made no attempt to engage in any occupation which did not comport with a quiet life in his own home, except that for a few months in 1844 he resided in Lowell, editing the "Middlesex Standard." He wrote much for the papers, and the poetic stream also flowed with greater freedom and it may be said clearness. He contributed a number of poems to the "Democratic Review" and other periodicals, and in 1843 the firm of W. D. Ticknor published "Lays of my Home, and Other Poems," the first book from which Whittier received any remuneration. The struggle for main- tenance through these years was somewhat severe, but in January, 1847, h2 formed a connection which was not only to afford him a more liberal support, but was to give him a most favorable outlet for his writings, both prose and verse.
It had been decided by the American and Foreign Anti-Slavery Society to establish a weekly paper in Washington, and the editorial charge was committed to Dr. Gamaliel Bailey, an intrepid and able man of experience. The paper was named "The National Era," and Whittier was invited to become a regular contributor, editorial and otherwise, but not required to do his work away from home. The paper, as is well known, was the medium for the publication of "Uncle Tom's Cabin," and its circulation was so consider- able as to make it a source of profit to its conductors as early as by the end of the first year. From 1847 till 1860 Whittier made this paper the chief vehicle of his writings, contributing not only poems, but reviews of contemporary literature, editorial articles, letters, sketches, and the serial which was published afterward in a book, "Leaves from Margaret Smith's Journal."
In 1849 B. B. Mussey & Co. of Boston brought out a comprehensive collection of Whittier's Poems in a dignified octavo volume illustrated with designs by Hammatt Billings. It was a venture made quite as much on friendly as on commercial grounds. Mr. Mussey was a cordial supporter of the anti-slavery cause and had a great admiration for Whittier's genius. He was determined to publish the poems in a worthy form, and his generous act met with an agreeable reward. Its success was a testimony to the
