Page:Complete Poetical Works of John Greenleaf Whittier (1895).djvu/357

Rh Evil and good before us, with no voice Or warning look to guide us in our choice; With spectral hands outreaching through the gloom The shadowy contrasts of the coming doom. Transferred from these, it now remains to give The sun and shade of Fate’s alternative.”


 * Then, with a burst of music, touching all

The keys of thrifty life,—the mill-stream’s fall, The engine’s pant along its quivering rails, The anvil’s ring, the measured beat of flails, The sweep of scythes, the reaper’s whistled tune, Answering the summons of the bells of noon, The woodman’s hail along the river shores, The steamboat’s signal, and the dip of oars: Slowly the curtain rose from off a land Fair as God’s garden. Broad on either hand The golden wheat-fields glimmered in the sun, And the tall maize its yellow tassels spun. Smooth highways set with hedge-rows living green, With steepled towns through shaded vistas seen, The school-house murmuring with its hive-like swarm, The brook-bank whitening in the grist-mill’s storm, The painted farm-house shining through the leaves Of fruited orchards bending at its eaves, Where live again, around the Western hearth, The homely old-time virtues of the North; Where the blithe housewife rises with the day, And well-paid labor counts his task a play. And, grateful tokens of a Bible free, And the free Gospel of Humanity, Of diverse sects and differing names the shrines, One in their faith, whate’er their outward signs, Like varying strophes of the same sweet hymn From many a prairie’s swell and river’s brim, A thousand church-spires sanctify the air Of the calm Sabbath, with their sign of prayer.


 * Like sudden nightfall over bloom and green

The curtain dropped: and, momently, between The clank of fetter and the crack of thong, Half sob, half laughter, music swept along; A strange refrain, whose idle words and low, Like drunken mourners, kept the time of woe; As if the revellers at a masquerade Heard in the distance funeral marches played. Such music, dashing all his smiles with tears, The thoughtful voyager on Pontchartrain hears, Where, through the noonday dusk of wooded shores The negro boatman, singing to his oars, With a wild pathos borrowed of his wrong Redeems the jargon of his senseless song. “Look,” said the Showman, sternly, as he rolled His curtain upward. “Fate’s reverse behold!”


 * A village straggling in loose disarray

Of vulgar newness, premature decay; A tavern, crazy with its whiskey brawls, With “Slaves at Auction!” garnishing its walls; Without, surrounded by a motley crowd, The shrewd-eyed salesman, garrulous and loud, A squire or colonel in his pride of place, Known at free fights, the caucus, and the race, Prompt to proclaim his honor without blot, And silence doubters with a ten-pace shot, Mingling the negro-driving bully’s rant With pious phrase and democratic cant, Yet never scrupling, with a filthy jest, To sell the infant from its mother’s breast, Break through all ties of wedlock, home, and kin, Yield shrinking girlhood up to graybeard sin; Sell all the virtues with his human stock, The Christian graces on his auction-block, And coolly count on shrewdest bargains driven In hearts regenerate, and in souls forgiven!


 * Look once again! The moving canvas shows

A slave plantation’s slovenly repose,