The Poems of Philip Freneau (Volume I)

The present edition of the poetical works of Philip Freneau was begun at the advice of the late lamented Moses Coit Tyler. In his opinion there were few fields in American history that needed exploring more, and few that would require on the part of the explorer more of the Columbus spirit.

It would be almost impossible for a poet to pass more completely into the shadow than has Freneau during the century since his activities closed. His poems are, almost all of them in their earliest editions, exceedingly rare and costly and only to be read by those who can have access to the largest libraries, his letters and papers have almost entirely disappeared, and his biography in almost every book of reference has been so distorted by misstatement and omission as to be really grotesque.

This neglect has resulted not from lack of real worth in the man, but from prejudices born during one of the most bitter and stormy eras of partisan politics that America has ever known. What Sidney Smith said of Scotland at this period was true here: "The principles of the French Revolution were fully afloat and it is impossible to conceive a more violent and agitated state of society." Freneau was a victim of this intense era. New England rejected him with scorn and all admirers of Washington echoed his epithet, "that rascal Freneau." Thus it has become the tradition to belittle his work, to vilify his character, and to sum up his whole career, as a prominent New Englander has recently done, by alluding to him as a "creature of the opposition."

Unprejudiced criticism, however, has always exalted Freneau's work. The great Scotch dictator Jeffrey, with all his scorn for American literature, could say that "the time would arrive when his poetry, like that of Hudibras, would command a commentator like Gray;" and Sir Walter Scott once declared that "Eutaw Springs [was] as fine a thing as there is of the kind in the language." E. A. Duyckinck did not hesitate to group him as one of "four of the most original writers whom the country has produced," and S. G. W. Benjamin could say in 1887: "In all the history of American letters, or of the United States press, there is no figure more interesting or remarkable, no career more versatile and varied than that of Philip Freneau." Such testimony might be multiplied. Surely had the poet been an ordinary man, Jefferson would never have said "his paper has saved our Constitution," Madison would not have pronounced him a man of genius, and Adams would hardly have admitted that he was a leading element in his defeat.

I have endeavored not only to rescue the most significant of Freneau's poems, but to arrange them as far as possible in their order of composition, or at least in the order in which they first appeared in print. It has seemed to me highly important to do this since such an arrangement, especially with a poet like Freneau, who drew his themes almost wholly from the range of his own observation, would be virtually an autobiography, and since it would also furnish a running commentary upon the history of a stirring period in our annals. The task has been no slight one. It has necessitated a search through the files of a large proportion of the early newspapers and periodicals and a minute investigation of every other source of possible information.

Much material has been rescued that, as far as the public was concerned, had practically become extinct. I have introduced the unique fragment of an unpublished drama, "The Spy," which I was the first to explore. I have taken pains to reproduce the poet's early poetical pamphlets dealing with the first year of the Revolution, not one of which has ever been republished. The revisions of many of these used by Freneau in his later collections were so thoroughgoing as to be in reality entirely new poems. "The Voyage to Boston," for instance, published during the siege of Boston, was cut down for the 1786 edition from six hundred and five lines to three hundred and six lines, and of these more than half were entirely changed. From the standpoint of the historian, at least, the original version is much more valuable than that made several years after the war was over. This is true of all the earlier pamphlet poems. Aside from their value as specimens of Freneau's earlier muse they are valuable commentaries on the history of the stormy times that called them forth, and I have not hesitated to reprint them verbatim in connection with the revised versions. The pamphlet poems "American Liberty" and "General Gage's Confession," (until recently supposed to have been lost) exist only in unique copies. Freneau never attempted to revise them. Some of the other early poems, notably "The House of Night," I have annotated with care, showing the evolution of the poem from its first nucleus to its final fragmentary form. In the case of a few of the more important poems, especially those dealing with the Revolution, I have given variorum readings.

Aside from this early material, which has a real historical value, I have introduced very few poems not included in Freneau's collected editions of 1786, 1788, 1795, 1809 and 1815. Previous to 1795 the poet reprinted with miserly care almost all the verses which he had contributed to the press. In his later years he was more prodigal of his creations. I have, however, reprinted from newspapers very few poems not found elsewhere, and these few only on the best evidence that they were genuine, for it has been my experience that when a poem is not to be found in the collected editions of the poet it is almost certain that it is not genuine. In justice to Freneau, who had the welfare of his writings much at heart, and who cut and pruned and remodeled with tireless hand, I have usually given the latest version.

I wish to acknowledge here my great indebtedness to the descendants of Philip Freneau, especially Miss Adele M. Sweeney, Mr. Weymer J. Mills, Mrs. Helen K. Vreeland, and Mrs. Eleanor F. Noël, who have allowed me to consult freely all the papers and literary remains of the poet and have supplied me with all possible information. I would also express my great obligation to many librarians, collectors, and scholars, who have cheerfully aided me, especially to Mr. Wilberforce Eames, of the New York Public Library, the late Paul Leicester Ford, Mr. Robert H. Kelby, of the New York Historical Society, Mr. John W. Jordan, of the Pennsylvania Historical Society, Mr. A. S. Salley, Jr., of Charleston, S. C., Mr. E. M. Barton, of the American Antiquarian Society, and Dr. E. C. Richardson, of Princeton University, who with their courteous helpfulness have made possible the work. I wish also to express my thanks to Professor A. Howry Espenshade, and Mr. John Rogers Williams, to whose careful and patient work upon the proofs the accuracy of the text depends.

F. L. P.

State College, Pa., Sept. 19, 1902.

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In the possession of the Freneau descendants there is an old French Bible, printed in Geneva, Switzerland, in 1587, which preserves an unbroken roll of the heads of the family back to the original owner of the book, Philip Fresneau, who on his death-bed in La Chapelle, France, in 1590, gave it into the hands of his eldest son. For five generations the book remained in the little suburban village, its possessors sturdy, industrious tradesmen, who stood high in the esteem of their community and yet who on account of their Protestant faith were often imposed upon and at times even persecuted. It was doubtless this feeling of insecurity, if not positive persecution, which compelled André Fresneau, like so many of his fellow Huguenots, to leave his native village and to seek a home in a more tolerant land.

He landed in New York in 1707. He was in his thirty-sixth year, an active, handsome man, almost brilliant in certain directions, of pleasing address, and skilled from his youth in the handling of affairs. He became at once a leader in the little Huguenot Colony whose center was the quaint old church "du St. Esprit" on Pine street. He was soon in the midst of a thriving shipping business, dealing largely in imported wines, and in 1710, three years after his arrival, he was able to furnish a beautiful home on Pearl street, near Hanover Square, for his young bride, Mary Morin, a daughter of Pierre Morin, of the French Congregation. Of the comfort and hospitality of this home there are many contemporary references. John Fontaine, the French traveller, was entertained here in 1716 and he speaks highly of his host and his entertainment.[1]

In 1721 Mrs. Fresneau died at the early age of twenty-seven, leaving behind a family of five children, the oldest only nine years of age. Four years later the father followed. But the young family was far from destitute. The business house in New York had grown to be very profitable and there was a large landed estate in eastern New Jersey, a part of which was sold in 1740. Soon the two eldest sons, Andrew, born 1712, and Pierre, born January 22, 1718, were able to continue their father's business. For years their firm name was familiar in New York.

Pierre Freneau (the family seem to have dropped the "s" about 1725) was married in 1748 to Agnes Watson, daughter of Richard Watson, of Freehold, whose property bordered upon the Freneau estate. They made their home in Frankfort street, New York, and here on January 2 (O. S.), 1752, was born their eldest child, Philip Morin Freneau, the subject of our sketch. Four other children came from their union, of whom only one, Peter, born April 5, 1757, who in later years became a prominent figure in Charleston, S. C., need be mentioned.

The home of the Freneau's was one of comfort and even refinement. There was a large and well selected library, the pride of its owner. "There," he would say to his visitors, pointing to his books, "use them freely, for among them you will find your truest friends." He delighted in men of refinement, and his home became a social center for the lovers of books and of culture. He looked carefully after the education of his children; and all of them early became omnivorous readers. In such an environment the young poet passed his first ten years.

In 1762 the family decided to leave New York and to make their home permanently on their estate, "Mount Pleasant," near Middletown Point, N. J. The estate at this time contained nearly a thousand acres, and with its large buildings, its slaves and its broad area under cultivation, was in many respects like a southern plantation. Heretofore the elder Freneau had made it of secondary importance. He had used it as a summer resort, and as a pleasant relief to the monotony of his city business, but now, perhaps on account of failing health, he determined to devote to it all of his energies. Philip was left behind in New York. For the next three years he lived at a boarding school in the city, going home only during the long vacations. At the age of thirteen he was sent to the Latin school at Penolopen, then presided over by the Rev. Alexander Mitchell, to prepare for college.

The father of the family died Oct. 17, 1767. This, however, did not disturb the plans of the eldest son, and on Nov. 7, 1768, he entered the sophomore class at Princeton so well prepared that President Witherspoon is said to have sent a letter of congratulation to his mother.

Of the college life of Philip Freneau we have only fragmentary records. He was in his sixteenth year when he entered, a somewhat dreamy youth who had read very widely, especially in the English poets and the Latin classics, and who already commanded a facile pen, especially in the field of heroic verse. During the year in which he entered Princeton he composed two long poems, "The History of the Prophet Jonah," and "The Village Merchant,"—surely notable work for the pen of a college sophomore. During the following year he wrote "The Pyramids of Egypt," and before his graduation he had completed several other pieces, some of them full of real poetic inspiration.

The period during which Freneau resided at Princeton was a most significant one. In the same class with him were James Madison, H. H. Brackenridge, the author of "Modern Chivalry" and a conspicuous figure in later Pennsylvania history, and Samuel Spring, who was to become widely influential in religious circles. In the class below him were the refined and scholarly William Bradford and the brilliant Aaron Burr. The shadow of the coming struggle with Great Britain was already lengthening over the Colonies and nowhere was its presence more manifest than in the colleges, always the most sensitive areas in times of tyranny and oppression. On August 6, 1770, the senior class at Princeton voted unanimously to appear at commencement dressed in American manufactures.

Another circumstance made the period a notable one. On June 24, 1769, a little band of students, headed by Madison, Brackenridge, Bradford and Freneau, organized an undergraduate fraternity to be called the American Whig Society. One year later The Well Meaning Club, a rival literary organization founded in 1765, became the Cliosophic Society. The act was the signal for a war, the echoes of which have even yet not died away at Princeton. There exists a manuscript book,[2] rescued from the papers of William Bradford, in which are preserved the poetic tirades, called forth in this first onset. Its title page is as follows:

"Satires | against the Tories. | Written in the last War between the Whigs & Cliosophians | in which | the former obtained a compleat Victory.

It opens with ten "pastorals" by Brackenridge, of which the ninth begins thus:

Then follow several satires by Freneau, full of fire and invective, but like the work of all the others, not always refined or quotable in print. His satire, "McSwiggen," printed in 1775, contains nearly half of the poems,—the only lines indeed which are of any real merit. The three concluding poems of the collection, and these by all means the worst of the lot, are from no less a pen than Madison's. No patriotic citizen will ever venture to resurrect them.

There is a tradition very widely current that Freneau was for a time the room-mate of Madison. However this may be, there is no question as to who was his most intimate friend. With Brackenridge he had much in common. Both had dreams of a literary life, both had read largely in polite literature, both scribbled constantly in prose and verse. In the same manuscript volume with the Clio-Whig satires there is an extensive fragment of a novel written alternately by Brackenridge and Freneau, between September 20th and October 22d, 1770. Its manuscript title page is as follows:

The adventures of the hero read like chapters from the "Arabian Nights." He has been for seven days a close captive on a French man-of-war, but he is rescued by an Irish privateer, only to be taken for a wizard and thrown overboard in a cask which is finally washed ashore on the north coast of Ireland. It would be useless to recount all of his adventures both afloat and ashore. He finally succeeds in reaching Mecca, and in returning safely home to America. The final chapter recounts the details of his death and moralizes on his life and character.

The work is crude and hasty. Whole chapters of it were evidently written at one sitting. The part signed H. B. is unquestionably the best; the prose is vigorous and the movement rapid. The only merit in Freneau's section lies in its lyric lament at the close of one of the chapters. The hero suddenly bursts into minor song, the opening stanzas of which are:

The nature of the undergraduate work done by Princeton in Freneau's time was thus summed up by President Witherspoon in his "Address to the Inhabitants of Jamaica," published in Philadelphia in 1772:

"In the first year they read Latin and Greek, with the Roman and Grecian antiquities, and Rhetoric. In the second, continuing the study of the languages, they learn a compleat system of Geography, with the use of the globes, the first principles of Philosophy, and the elements of mathematical knowledge. The third, though the languages are not wholly omitted, is chiefly employed in Mathematics and Natural Philosophy. And the senior year is employed in reading the higher classics, proceeding in the Mathematics and Natural Philosophy and going through a course of Moral Philosophy. In addition to these, the President gives lectures to the juniors and seniors, which consequently every Student hears twice over in his course, first, upon Chronology and History, and afterwards upon Composition and Criticism. He has also taught the French language last winter, and it will continue to be taught to all who desire to learn it. * * *

"As we have never yet been obliged to omit or alter it for want of scholars, there is a fixed Annual Commencement on the last Wednesday of September, when, after a variety of public exercises, always attended by a vast concourse of the politest company, from the different parts of this province and the cities of New York and Philadelphia. * * *"

Of Freneau's proficiency as a student we have no record. Of the details of the Commencement of September 25, 1771, when he received his degree, we have but a brief account. Brackenridge opened the exercises with a salutatory, and following came four other exercises which completed the morning's programme.

The audience assembled again at three, and after singing by the students there came:

"6. An English forensic dispute on this question, 'Does ancient poetry excel the modern?' Mr. Freneau, the respondent, his arguments in favor of the ancients were read. Mr. Williamson answered him and Mr. McKnight replied."

"7. A poem on 'The Rising Glory of America,' by Mr. Brackenridge, was received with great applause by the audience."

Madison on account of ill health did not appear.

The "Rising Glory" had been written conjointly by Brackenridge and Freneau. Although the former was given on the Commencement programme full credit for the exercise, it was surely Freneau who conceived the work and who gave it its strength and high literary value. Brackenridge in later years confessed to his son that "on his part it was a task of labor, while the verse of his associate flowed spontaneously." The poem was printed in Philadelphia the following year, and in 1786 Freneau isolated his own portion for publication in the first edition of his works.

This detaching of Freneau's portion from the complete work destroyed at the outset the original unity of the piece. The changes and omissions made necessary by the process of separating the part from the whole, the deliberate readjustment of perspective to bring the poem up to the historical conditions of the later date, and the careful editing which strove to remove blemishes and weaknesses due to inexperience, combine to make the 1786 version practically a new poem.

The first glimpse of Freneau after his graduation from Princeton is furnished by a letter to Madison, dated Somerset County, in Maryland, November 22, 1772:[3]

The scene of Freneau's new labors was the famous old school near Princess Anne, Md., which in 1779 was incorporated as Washington Academy. Brackenridge became Master here shortly after his graduation, and in the words of his son and biographer, received "a handsome salary." "He continued here," says his biographer, "during several years until the breaking out of the American Revolution, in the midst of a wealthy and highly polished society, greatly respected as a man of genius and scholarship. He used to speak with the pride of a Porson, of the Winders, the Murrays, the Parnells and others who afterward became distinguished."[4] For many years the academy drew to it the sons of the best families of Northern Virginia, Maryland and Delaware.

The length of Freneau's stay in Maryland is uncertain. There is evidence that he remained as Second Master of the school for several years. There is a tradition in the family that it was the wish of Freneau's father that he study divinity and that for a time he joined with Brackenridge in preparing for this profession; and there is another, which is very persistent, that he left Maryland to study the law in Philadelphia, but I can find no positive evidence. The period between 1772 and 1775 is at best a vague one in our life of the poet.

In the early summer of 1775, Freneau suddenly appeared in New York as a publicist of remarkable fluency. Before November he had issued no less than eight long poems as separate publications, nearly all of them called forth by the new crisis in American affairs. Beginning with "American Liberty," issued by Anderson, the editor of the new patriotic weekly, The Constitutional Gazette, he published pamphlet after pamphlet in rapid succession, all of them throwing upon Gage and the British cause in Boston all the satire and invective which he had used so mercilessly in the old society war at Princeton. Two of these were published by Hugh Gaine, and another, "The Voyage to Boston," first issued by Anderson, was reprinted at once in Philadelphia. All of them have fared hardly during the years. Several, like "General Gage's Soliloquy," and "Timothy Taurus," which recounts the story of a journey made by Freneau to Passaic Falls, near Paterson, New Jersey, in August, have disappeared entirely, one of them, the "General Gage's Confession," has never been republished in any form, and all the others were cut down and altered by the author for later editions until they were almost in every respect entirely new poems.

That these voluminous and vigorous tirades, which their author evidently poured forth with perfect ease, were criticised and condemned by the fastidious we have no evidence. Certain it is that judging by the contemporary newspaper press they were exceedingly popular. Yet, in November we find Freneau in a sad state of discouragement, ready to give up forever all association with the muses. Some one, envious of his rising fame, has criticised him unmercifully. He seeks out the old Clio-Whig satires and after adapting and reshaping them he hurls them at the head of his enemy whom he designates as McSwiggen.

The young poet had begun to realize how barren was the new world in poetic appreciation; how impossible it was for even a true poet to practice his art where few could appreciate, and none really cared:

He looked longingly across the water where poets were appreciated:

The poem was a valedictory.

Freneau had determined to spend the winter in the West Indies. He had become acquainted during the autumn with a West Indian gentleman by the name of Hanson, who owned large estates in the islands, and who sailed master of his own vessel. Upon his invitation Freneau became a passenger late in November for the Island of Santa Cruz. Early in the voyage the mate died, and the young poet, his education outweighing his inexperience in nautical matters, was chosen to fill his place. The study of navigation, made necessary by this step, doubtless turned the direction of his whole life.

For the next two years Freneau made his home on Captain Hanson's estate on the Island of Santa Cruz. A selection from one of his letters charmingly describes the spot.

He seems to have been employed at intervals by Captain Hanson in voyages about the islands. Thus he records of the Island of St. James, that "I went over July 13, 1777, and remained there eight days. We loaded our vessel with coral rock, which is used in these islands for burning lime of a very excellent quality."

It was while at the ideal retreat at Butler's Bay that Freneau wrote three of his most significant poems, "Santa Cruz," "The House of Night," and "The Jamaica Funeral," the first two of which were contributed to the United States Magazine in 1779. Of these the "House of Night" is the most significant, containing as it does evidence of a high creative power and a romantic imagination, rare indeed in English poetry in 1776. There are evidences that Freneau composed the first draught of the poem before leaving for the West Indies, but the point is not an important one. For the edition of 1786 he nearly doubled the original version, but in 1795 he cut it down to a few stanzas, taking from it nearly everything which had made it a notable creation.

On April 1, 1778, Freneau sailed from Santa Cruz for the Bermuda Islands, where for a time he was the guest of the English Governor. In an elaborate letter to Brackenridge, dated Bermuda, May 10, afterward published in the United States Magazine, he describes at length the islands. "These," he says in conclusion, "are a few particulars concerning this little country where I resided upwards of five weeks, and if this slight description gives you any satisfaction, it will amply repay me for the fatigues I underwent in sailing thither."

On June 6th he was again in Santa Cruz; on the 15th he set out on his homeward voyage, after an absence of nearly three years. The run home was destined to be eventful. Off the Delaware capes the vessel was taken by the British, but Freneau, being a passenger, was landed on July 9th and allowed to go his way.

The young poet now retired to Mount Pleasant, where doubtless he quietly remained until the autumn of the following year. In August, 1778, he published with Bell in Philadelphia the pamphlet poem "America Independent." On January 1, 1779, Brackenridge issued in Philadelphia the first number of the United States Magazine,[6] and Freneau at once became an important contributor. His work in prose and verse may be found in nearly every number. There are prose papers on the West Indies, purporting to be extracts from the letters of "a young philosopher and bel esprit just returned from several small voyages amongst these islands." There are several early poems for the first time put into print, like "Columbus to Ferdinand" and "The Dying Elm," and there are several notable long poems, like "Santa Cruz" and "The House of Night." At least three of the poetical contributions were written expressly for the magazine: "George the Third's Soliloquy," "Psalm cxxxvii Imitated,"—signed "Monmouth, Sept. 10,"—and the "Dialogue between George and Fox." It is evident, however, that Freneau, though his work very greatly strengthened the periodical, was only a "valued contributor." The psalm in the September issue, the first of the poems to bear his name, had a foot-note explaining that the author was "a young gentleman to whom in the course of this work we are greatly indebted."

The United States Magazine is a notable landmark in American literary history. Its methods, as we view them to-day, seem singularly modern, and its materials and arrangement are indeed remarkable when we view them against the background of their times. It was a spirited, intensely patriotic, and highly literary periodical; the single fact that "The House of Night" first appeared in its columns is enough to stamp it as no ordinary work. It died with its twelfth issue, owing to the troubled state of the country and the unsettled nature of the currency. Then, too, the audience to which it appealed was found to be a small one. In his valedictory the editor complains bitterly of the unliterary atmosphere in America. A large class, he declares, "inhabit the region of stupidity, and cannot bear to have the tranquility of their repose disturbed by the villanous shock of a book. Reading is to them the worst of all torments, and I remember very well that at the commencement of the work it was their language, 'Art thou come to torment us before the time?' We will now say to them, 'Sleep on and take your rest.'"

Late in September, 1779, Freneau shipped as super-cargo on the brig Rebecca, Captain Chatham, bound for the Azores. After an exciting voyage, during which they were several times chased by British ships, they arrived at Santa Cruz, in the island of Teneriffe, where they remained two months. A part of Freneau's notebook during this voyage has been preserved. It shows him to have been a careful and conscientious student of navigation, making each day an observation of his own and minutely tabulating his results. His cash account with the crew during the stay in the islands is interesting and suggestive.

The early spring of 1780 was spent by the poet at the old home, but his mind was evidently tossing upon the ocean. He longed to visit again his beloved West Indies, and accordingly on the 25th of May he took passage at Philadelphia, in the ship Aurora, for St. Eustatia. Freneau's account of this voyage and its after results is still extant.[7] A few quotations will tell the story.

Freneau at first supposed that, being a passenger, he would be taken with the prize to New York and there released; but despite his protests, he was driven into the barge with the other prisoners and taken to the Iris. All his baggage was left behind, and he was destined never to see it again. Arriving on board, the prisoners were driven between decks, where the air was hot and stifling.

On the 29th the Iris reached New York and the common prisoners were sent to the prison ships in the harbor. Freneau, however, was retained with the officers. He had been promised his liberty at the first possible moment, but on Thursday, June 1st, at the Commissioner's office, the charge was brought by the second mate that Freneau had been among those stationed at the guns during the fight. He was refused parole, though he promised security in any amount up to ten thousand pounds, and the same day was placed on board the Scorpion prison ship, "lying off the college in the North River."

Freneau's experiences during his stay upon the Scorpion have been described by him in graphic style in his poem, "The Prison Ship."

On June 22d, Freneau, who was weak with fever, was taken to the Hunter hospital ship, lying in the East River. Here he languished with an intermittent fever, that threatened constantly to become "putrid" and fatal, until July 12th, when:

Some days later he despatched the following note to his friend at Santa Cruz:

On April 25, 1781, there was established in Philadelphia a new weekly newspaper, the Freeman's Journal or North American Intelligencer, which was to be "open to all parties but influenced by none," and which had for its object "To encourage genius, to deter vice, and disrobe tyranny and misrule of every plumage." The proprietor and printer of this paper was Mr. Francis Bailey, who not long before had removed his office from Lancaster, Pa. The editor and ruling spirit, although his name during three years did not once appear in its columns, was Philip Freneau. The mark of the young poet is upon every page. Its opening editorial, which was from his pen, sounded a note that was not once lowered or weakened while he was in control.

From this time until June, 1784, Freneau resided principally in Philadelphia, and edited the journal. During all of this time his muse was exceedingly active. He followed carefully the last years of the war, and put into satiric verse every movement of the "insolent foe." He sang the victory of Jones, and mourned in plaintive numbers the dead at Eutaw Springs. He voiced his indignation over the destructive career of Cornwallis, and burst into a Laus Deo at his fall. The ludicrous plight of Rivington and Gaine, the distress of the Tories, and the final departure of the British filled him with glee, which he poured out in song after song. It was his most prolific and spontaneous period.

He wrote, too, an abundance of prose. The series of graceful papers entitled "The Pilgrim" is from his pen, besides many a political study and literary sketch signed with a sounding name. Everywhere are manifest his love of true literature and his desire to lead a merely literary life, but here and there are notes of discouragement. "Barbers cannot possibly exist as such," he writes, "among a people who have neither hair nor beards. How, then, can a poet hope for success in a city where there are not three persons possessed of elegant ideas?"

During the year 1783 Freneau's pen was very busy in various lines of work. It is probable that he assisted Bailey in many ways,—writing introductions to publications issued by the office and performing the various other duties incumbent upon the literary editor of a publishing house. During this year he translated the "New Travels through North America," which had just been issued by the Abbé Robin, one of the chaplains of the French Army in America, and the translation was issued first by Bailey and later by Powers and Willis of Boston. Freneau's introduction is characteristic:

It was during this year that the poet, for the first time, met with positive opposition and abuse. Oswald, the editor of the newly established Gazette, quarrelled with Bailey, and a poetical battle was one phase of the contest. The details of this affair will be found in the proper place, and I need not recount them here, but suffice it to say that Freneau soon found his muse assailed by the meanest of all critics. His extremely sensitive nature could brook no criticism. His Celtic temperament could fight fiercely in the presence of an open foe, but it was easily depressed and discouraged by criticism and covert attack. He lost heart in his work, and at the end of the third volume he quietly withdrew from his editorship.

The three volumes of the Journal which bear his impress are notable for their vigor of policy, their high ideals, their unswerving patriotism, and their real literary merit. It is to be hoped that a selection from Freneau's prose writings during this critical era in our history may sometime be made. Nowhere else can we gain so distinct a picture of the man, with his sanguine, impetuous temperament, his proud spirit, and his intense hatred of every form of tyranny. He wrote vigorously not only on British oppression, but on such topics as the wrongs of negro slavery, cruelty to animals, the wanton destruction of trees, the evils of intemperance, and the rights of woman.

The "Epistle to Sylvius" was his valedictory. In it he deplores the lack of literary taste in America, and the sad fate which has befallen his youthful poetic dreams. The age is grown mercantile, and Sejanus the mighty tradesman,—

A bard with more Teutonic blood, if he knew within himself that he was indeed a poet, and the only real poet of his time, would have staid at his post and made himself heard, despite narrow criticism and mean abuse, but Freneau was too proud to fight for recognition. The people had crowned him, to be sure, but if the critics, those who should be the real judges, rejected him, he would strive no longer. He would leave the field.

On June 24, 1784, Freneau sailed from Middletown Point as master of the brig Dromilly, bound for Jamaica. The voyage was indeed a memorable one. On the night of July 30, while off the end of the island, the ship encountered a violent hurricane. According to contemporary accounts, "No more than eight out of one hundred and fifty sail of vessels in the ports of Kingston and Port Royal were saved." The Dromilly survived the storm, but it was a mere wreck when the next morning it crept into Kingston Harbor.

Freneau remained in Jamaica until September 24, when he left for Philadelphia in the brig Mars, arriving November 4. His experiences in trying to fit out the wrecked Dromilly are not recorded, but the one incident of his poetic reply to the keeper of the King's water works, who had refused him a puncheon of water, is characteristic.

From this time until 1790, Freneau's life is redolent of the ocean. A complete itinerary of this wandering era may be compiled from the shipping news of the various seaport newspapers, but it is useless to go into details. He was master for a time of the sloop Monmouth, plying for freight between Charleston, S. C., New York, and Savannah. His brother Peter, in Charleston, had become a man not only of influence, but of means, and together they owned the vessel and shared its profits. For several years advertisements like this appeared in the Charleston papers:

On the 1st of June, 1786, there was issued from Bailey's press the first collected edition of Freneau's poetry. During the entire year its author was at sea almost continuously. It is evident that he had little to do with the edition. The copy furnished to Bailey consisted of the manuscript of a few early poems, revised copies of the 1775 pamphlets, and corrected and enlarged versions of his contributions to the United States Magazine. The bulk of the book is made up of Freneau's contributions to the Freeman's Journal, printed seriatim and without change. The poem "Rivington's Confessions" is even divided into two parts, with another poem between, as it first appeared in the paper. An index of the poetry in the first four volumes of the Journal is a nearly perfect index of the 1786 edition, after the poem "The Prison Ship."

Bailey wrote for the edition the following introduction:

This edition is the most spontaneous and poetic of the poet's works. In it we see Freneau before he has lost his early poetic dream, before he has become hardened by close contact with the world of affairs and the cold, practical round of political life. This and the 1788 edition contain by far the most valuable part of his poetic work.

In those days before the invention of book reviews, the fate of a book turned largely upon its immediate reception by the reading public. Criticism was by word of mouth: the poems were discussed in polite circles and over the morning coffee. Thus we have nothing to quote to show how America received her bard. We know, however, that the poems were successful even beyond Bailey's expectations. In less than five months he was out with proposals for "an additional collection of entertaining original performances in prose and verse by Philip Freneau." The book was to be published as soon as five hundred subscribers could be secured, and the subscribers' names were to be printed at the beginning of the volume.

One bit of contemporary praise, however, has been preserved. On June 8th, one week after the appearance of Freneau's first volume, Col. Parke of Philadelphia composed the following, which was first published in the Journal of June 21st, and afterward included in his volume of "The Lyric Works of Horace, ... to which are added a Number of Original Poems," issued later in the year:

The second volume of poems did not appear promptly. One year after the first proposals, Bailey advertised that the book was at last in press. "An unusual hurry of other business (of a nature not to be postponed), has unavoidably delayed the printer in its publication to so late a period." It is notable that of the four hundred and sixty-three subscribers, two hundred and fifty, or over half, were in Charleston, S. C., and one hundred and twenty-six in New York. Philadelphia subscribed for very few of the volumes.

The printer's advertisement was as follows:

Of the forty-nine poems in the volume, one, "Slender's Journey," had been published separately by Bailey early in 1787, and nearly half of the others had first seen the light between April, 1786, and January, 1788, in the columns of the Freeman's Journal. The greater number of the others were doubtless printed from the poet's manuscripts. A few of the prose papers, like "The Philosopher of the Forest," were selected from the columns of the Journal, especially from the series entitled "The Pilgrim," but much of the rest was from the poet's manuscripts now first published.

In the meantime the poet was leading a stormy and adventurous career upon the sea. As master of the sloop Industry, and later of the schooner Columbia, plying irregularly on all kinds of coastwise voyages between Georgia and New York, he experienced every phase of life upon the ocean. As a sample of his adventurous career during this period, note the following letter[8] to Bailey, written from Norfolk, Va., in the summer of 1788:

I cannot forbear quoting another letter[9] written nearly a year later, since it gives us a charming glimpse of the Freneau of this period:

On the 24th of April, 1789, when Washington arrived in New York to enter upon the duties of the presidency, in the fleet that accompanied him from Elizabethtown Point was the schooner Columbia, Capt. Freneau, eight days from Charleston. In June the Columbia again entered New York Harbor, and on December 28th she was at Sunbury, Georgia. On February 12th, 1790, Freneau arrived in New York, passenger from Middletown Point in the brig Betsy, Capt. Motley, to become editor of Child and Swaine's New York Daily Advertiser. For several months negotiations had been pending. Every appearance of the poet in New York for a year past had been marked by a small budget of poems in the Advertiser from the pen of "Capt. Freneau," but it was not until February, 1790, that he was induced to leave his beloved Columbia and settle down to a life upon shore. The poem "Neversink," written some months later, is his valedictory to the ocean.

The poem "Constantia" may record the poet's reasons for leaving the ocean, for on the 19th of May, 1790, there appeared in Peter Freneau's Charleston paper, the City Gazette, or the Daily Advertiser, the following:

The Forman family with which the poet allied himself was one of great respectability and even prominence in New Jersey. Its record during the Revolution had been a conspicuous one, and its connection included the Ledyards, the Seymours, and many other prominent families. Mrs. Freneau, in the words of her daughter, "was remarkable for her gentle, lady-like manners, amiable disposition and finely informed mind. She was affable and sprightly in her conversation, and there were, even when she had reached the advanced age of eighty-seven, few handsomer women." In her early years she dabbled a little in poetry herself, and there is a tradition in the family that the prenuptial correspondence was for a long time wholly in verse.

Freneau was now fairly settled in life, and for the next seven or eight years he was engaged almost continuously in newspaper work.

During the next year and more Freneau, as editor of the Daily Advertiser, brought to bear upon the paper all the vigor and literary skill which had so marked the Freeman's Journal. The tone of the editorial comment was patriotic and spirited. The note of reform, of opposition to everything that was degrading to high ideals, or that in any way threatened personal liberty, was never absent. Despite the manifold duties incumbent upon the editor of a city daily, he found time to write finished prose sketches and to woo the muses. His poetry of this period is notable both as to quantity and quality. Some of it was drawn from the notebooks of his years of wandering, but the greater part dealt with more timely topics. In June he published the advertisement:

Judging from several poems of this period which were printed as from the author's new volume, "The Rising Empire," this was to be the title of the book. The advertisement was dropped in October, and "The Rising Empire" never appeared, though most of its poems were printed in the edition of 1795.

On September 20, 1791, Freneau's daughter, Eleanor, was born at Mount Pleasant. His salary as editor of the Advertiser was not large; the little family, it appears, was in straightened circumstances. A letter[10] from Aedanus Burke of Charleston to Madison, dated September 13, 1801, throws light upon the period.

Madison acted promptly. On the 28th of February, 1791, Jefferson wrote to Freneau as follows:

Freneau's letter in reply has been lost. On May 1st, however, Madison wrote Jefferson, so that we may gather its import:

Jefferson replied on May 9th:

That Jefferson had made overtures to Freneau about the establishing of a paper at the seat of government, or at least had discussed the matter with those who had, is evident from the following letter written to his son-in-law, Randolph, six days later:

It is a testimonial to the energy and the ability of Freneau that leaders like Madison and Jefferson should have sought him so persistently. Notwithstanding Freneau's refusal, Jefferson, on July 21st, wrote to Madison:

This being brought to Freneau's attention, he determined to hold out no longer. On July 25th he wrote to Madison from Middletown Point:

Mr. Francis Childs, who was one of the proprietors of the Advertiser, as we have already seen, agreed to the enterprise, and the following document was soon signed:

I have considered this episode somewhat minutely since it throws light upon what follows.

The first number of The National Gazette appeared on Monday, October 31st. It was issued Mondays and Thursdays. Its typography and arrangement were neat and attractive; its news columns were well filled, and its literary department was carefully attended to. Its success was all that had been predicted by Madison. On May 7, 1792, the editor announced that the subscription to the Gazette had succeeded beyond his most sanguine expectations.

The period covered by the two years of the National Gazette was one of singular unrest in America. The French Revolution was in progress; everything seemed tottering. America believed that all Europe was soon to cast off its chains of monarch; she believed that the torch of the Rights of Man had been lighted in America, and she looked with almost paternal interest on the progress of the Revolution. In his poetical salutatory in the first number of the Gazette, Freneau writes:

The columns of the Gazette are full of ringing words on the Rights of Man, the Age of Reason, the final doom of monarchy. In poem after poem the editor pours out his sympathy for republicanism and the cause of the French insurgents. That the French had been largely instrumental in the gaining of our own independence, increased the interest. "On the Fourteenth of July," "On the French Republicans," "On the Anniversary of the Storming of the Bastile," "Ode to Liberty," and "Demolition of the French Monarchy," are a few of the poems that Freneau poured forth during this incendiary period. It is significant that he included none of these verses in his edition of 1809. That he was honest to the core in his belief cannot for a moment be doubted. His impulsive Celtic temperament threw his whole soul into his work.

The frenzy among the American Republicans culminated with the arrival of Citizen Genet, in 1793. At the Republican dinner given Genet, May 18th, Citizen Freneau was elected by acclamation to translate Pichon's ode. On June 1st, at the civic feast, Freneau's ode, "God Save the Rights of Man," was received with thunderous applause.

One must study carefully this incendiary period of Freneau's life before he can understand fully the much discussed episode of the National Gazette. The wine of French Republicanism was sadly intoxicating. It could make Freneau write such a stanza as this:

And then explain it by saying that "The National Gazette is the vehicle of party spleen and opposition to the great principles of order, virtue and religion."

In view of all this, it is not strange that he should have been impatient with the conservative party, who not only did not grow enthusiastic over the French Revolution, but even looked upon it with actual disapprobation. From the very first, the editor of the Gazette criticised the leading Federalists, especially Adams and Hamilton, and he even mildly rebuked Washington, the hero of his earlier muse. The administration, in his mind, was leaning toward monarchial ideas. Washington, in his opinion, had exceeded his power in the matter of the banks, and the precedent was a dangerous one. The ceremonials with which the President had hedged himself about were greatly at variance with simple democratic ideas; and, to crown all, the ingratitude of the administration (to the extremists it could have no other name) in its attitude toward Genet and the French people hurt him deeply. I believe that Freneau was fundamentally honest in his position. It is almost impossible to believe that a note like this, in the Jersey Chronicle of 1795, is not sincere:

In regard to Adams, who had danced at the King's ball in a scarlet suit, and Hamilton, the father of the Federalists, Freneau had no scruples. The attacks of the Gazette became more and more pointed with every issue, though much of the more incendiary matter was not from Freneau's pen. The "Probationary Odes," for instance, attributed to him by contemporary enemies, and in later years quoted by Buckingham and Duyckinck as from his pen, were written by St. George Tucker. They were published in book form by Tucker in 1796. In the sensitive state of party politics at this time, such frank criticism could not fail to raise a tempest of rebuttal and of counter abuse. It was soon noted that the Gazette, in its attacks upon the administration, spared the State department. Jefferson was never mentioned except for praise. The inference was obvious: either he had "muzzled" the paper by granting it certain favors, or he was making use of it as a weapon against the very administration of which he was a member.

Hamilton naturally inclined toward the latter view, and much bitterness was the result. On July 25, 1792, he inserted this anonymous bit in Fenno's Gazette of the United States, the Federalist organ:

This was the beginning of a series of anonymous attacks in the Federalist newspaper, written undoubtedly by Hamilton. A second article, still more definite, appeared on August 4th. In it the writer directly charged Jefferson with being the soul and spirit of the National Gazette. "Mr. Freneau was thought a fit instrument," and so was deliberately engaged; he was simply the "faithful and devoted servant of the head of a party from whose hands he received a boon." The article then proceeds at length to arraign Jefferson and to appeal to the American people, whether they will consent to see the precious legacies which are theirs "frittered away" in so shameless a manner.

This attack called forth (from Freneau) an affidavit which was printed in the Gazette, August 8, 1792:

Hamilton followed, August 11th, with another article. He emphatically discredited Freneau's oath, declaring that "facts spoke louder than words, and under certain circumstances louder than oaths;" that "the editor of the National Gazette must not think to swear away their efficacy;" that "if he was truly, as they announced, the pensioned tool of the public character who had been named, no violation of truth in any shape ought to astonish; equivocations and mental reservations were the too common refuge of minds struggling to escape from disgraceful imputations." The article then proceeded to show that Jefferson did really establish the Gazette through a particular friend.

Freneau at once declined to answer further the attacks, on the ground that they were mere "personal charges," and Hamilton promptly branded this as "a mere subterfuge." Thus Freneau found himself in the midst of a perfect hornet's nest of partisan strife that involved the country from end to end. The Federal organ continued its attacks, and Freneau, always restive under criticism, increased in bitterness.

On September 9, 1792, Jefferson put himself on record in a letter to Washington.[11] The letter is extremely long, since it covers the entire contest with Hamilton from the beginning. In it he declared:

But if the National Gazette concerned Jefferson not at all, as he alleged, it certainly did exasperate Washington. Later on, when the Genet affair had urged Freneau into still greater excesses, Washington, on the 23d of May, 1793, had a conversation with Jefferson, which the latter recorded in his Ana:

Washington even brought the affair into a meeting of the Cabinet, declaring, according to Jefferson's Ana, that,

The National Gazette published its last issue, October 23, 1793. The collapse of the Genet bubble—the revulsion of feeling after the Frenchman had threatened to appeal from Washington to the people, brought on a tidal wave which swept away all the idols of French Republicanism in America, and the National Gazette could not withstand the tide. Subscribers withdrew their subscriptions at a ruinous rate, the notes of the proprietors were protested, and the paper was abandoned. Freneau had no idea, however, of final surrender. His last word was a promise which, however, was never fulfilled.

It is upon this episode that the reputation of Freneau among the generality of people chiefly rests. "That rascal Freneau" is the epithet that has clung to his name through all the intervening century. It is this one affair, more than anything else, that has kept him from the recognition he deserves, both as a patriot and a poet. The attitude of New England may be expressed in the words of President Dwight, written during the summer of 1793:

Letters might be multiplied in showing the same spirit in all of the Federalists.

It must not be forgotten, however, that Freneau acted from pure and honest motives; that the excitement and bitter partisanship of the period were extraordinary, and that the air was heavily charged with the subtle magnetism that in France had created a reign of terror. It cannot be denied that Freneau went to excess in his denunciations; but so did Hamilton, who in reality began the conflict; so did Jefferson; so did many others. As to the extent to which Jefferson went in subsidizing the Gazette for his own use, the reader may judge for himself. Neither side is free from blame; Freneau is certainly no more culpable than the others who held far higher positions than he. It is but justice to say of Freneau, in the words of Jefferson's biographer, Randall—

The following words of Madison, taken from Mr. Trist's memoranda of a conversation, May 25, 1827, and published in Tucker's Life of Jefferson, probably presents the affair in its true light:

It deserves mention that Freneau stuck to his post during the yellow fever epidemic of 1793, and that for weeks he was the only active editor in the city. On October 1st he resigned his position as translator, and soon after removed to his old home at Mount Pleasant. For a time he was without employment. He contemplated several newspaper enterprises. He evidently took steps toward the publication of a paper in Monmouth County, New Jersey, as the following advertisement, published in the Jersey Chronicle, May 30, 1795, would show:

On November 2, 1794, he writes Madison, recommending his old friend Bailey for the office of public printer, and on May 6th following, he received a reply:

On May the 20th following, Freneau continued the correspondence:

The Jersey Chronicle, an eight-paged paper of the size of a sheet of letter paper, issued its initial number from the editor's little office at Mount Pleasant, Saturday, May 2, 1795. It bore the motto, "Inter Sylvas Academi quaerere verum.—Hor.;" and its object, in the words of its editor, was "to present ... a complete history of the foreign and domestic events of the Times, together with such essays, remarks, and observations as shall tend to illustrate the politics, or mark the general character of the age and country in which we live." The editor's salutatory is characteristic of its author:

Freneau's essays contributed to the Chronicle are among the most notable prose productions from his pen. He began a series of studies "On Monarchial and Mixed Forms of Government;" he wrote "Observations on Monarchy," and discussed at length the leading arguments for and against Jay's Treaty with England. On May 23d he began to publish a series of papers entitled "Tomo Cheeki, the Creek Indian in Philadelphia," in which the manners and absurdities of the Americans are described from the standpoint of an observant savage. In nearly every issue of the paper there was an elaborate essay on some political subject. Of poetry there was very little. The National Gazette had contained little poetry from the editor's pen, save earlier verses reprinted, and a few political satires and republican lyrics. The influence of Peter Pindar was becoming more and more manifest in the poet's style. Politics and party strife had for a time displaced the muse. This is nowhere more evident than in the collected edition of his poems printed on his own press and issued in June, 1795.

In many respects this is the most interesting of Freneau's collections: it brings us into the very presence of the poet. The earlier editions had been published without his supervision, the material for this one passed all of it under the author's critical eye. Scarcely a poem escaped revision. After noting the scrupulous care with which he changed adjectives, improved rhymes, added new stanzas, or cut out old ones, repunctuated sentences, and rearranged material, one cannot join the somewhat large band of hasty and superficial critics who allude flippantly to the poet as a hasty and careless improviser of ephemeral trash. As a matter of fact, Freneau was a miser with his verses. When a newspaper poem suspected to be his, especially in the period previous to 1795, cannot be found in any of his collections, grave doubts at once arise as to whether the poem is his. He was never tired of revising, and cutting, and pruning. The poems so carefully edited in 1795 were again carefully revised in 1809. As an instance of his concern for the fate of his poems let me quote a letter, written August 29, 1781, to Matthew Carey:

The 1795 edition is interesting from another standpoint. The resources of the little country office were taxed to the utmost in the production of the book. At best it is a crude piece of printing. There is manifest everywhere an effort to keep the work within bounds, to economize space. Titles are abbreviated, mottoes dropped, foot notes cut out, and many earlier poems reduced, or omitted entirely. The list of omissions is very suggestive: scenes one and two were cut from the "Pictures of Columbus," the long song of Ismenius was dropped from "The Monument of Phaon," "The Jamaica Funeral," and "The House of Night" were reduced to mere fragments, "Female Frailty" was dropped save for the opening lyric, and there were other notable changes. In every case it will be found that the poet threw overboard the light and imaginative element, the purely poetic.

The reason for these omissions has been often sought. Prof. C. F. Richardson in particular has wondered at the dropping of the intensely original and weirdly strong poem "The House of Night,"—in his opinion the best thing Freneau ever did. It is not difficult to answer the question after a careful study of the evolution of Freneau's poetic ideals. He began to write poetry after a thorough course of reading in the Latin and English classics. His early work is redolent of Virgil's "Eclogues," of Horace, of Shakespeare, of Milton's minor poems, of Gray's "Elegy." If ever there was a sensitive, beauty-loving, poetic soul, the young Freneau was one. In his early inexperience he even dreamed of a poetic career in which he might perhaps win a place beside the great masters of song. His early work like the "Ode to Fancy," and similar pieces, and the strong and original "House of Night" and "Santa Cruz" show what he might have done in another environment.

But Revolutionary America had little encouragement for an imaginative poet. There was something in the air that seemed to put into men the Franklin spirit. It was the era of common-sense, of stern reality, of practical affairs. Madison voiced the age when in 1774 he advised Bradford, the cultured and imaginative young lover of poetry and all art, to turn to sterner things:

The first half of Freneau's life, as we have seen, was one of disillusion. It took twenty-five years to kill the spark in his breast, but the process though slow was sure. After the fierce period of the National Gazette he thought of himself only as a worker in the tide of practical affairs, a champion of the rights of man, a protestor against tyranny and wrong, and his muse had become a mere drudge, aiding by satire and song what he now conceived to be his life work. He had taken a deliberate though sorrowful leave of his early muse in 1787, one year after the appearance of his first volume of poems:

One cannot read long the columns of the Jersey Chronicle without realizing forcibly the change that had come over Freneau. The poet who emerged from the crucible of the National Gazette was not at all like the poet of "The House of Night" period. He could look upon this product of his early imagination much as Madison would have done, and he could in cold blood cut it down to a mere fragment which would voice his new French Deistic ideas, that he might have room for his Republican songs. The poem "To the Americans of the United States," written in 1797, gives us a true picture of this later Freneau. He would be no courtly singer "beneath some great man's ceiling placed," no solitary dreamer. He would be a man of action travelling over lands and seas, a poet who caught his subjects from the varying scene of human things.

With the fifty-second number of the Chronicle, published April 30, 1796, the paper came to an end. Freneau's final editorial stated that:

A letter[16] written by Freneau from New York, to Madison, dated December 1, 1796, reveals what was in the poet's mind during the months following the abandonment of the Chronicle:

The partnership with Greenleaf, mentioned to Madison, for some reason was never consummated. On March 13, 1797, however, Freneau issued in New York the first number of a new journal, The Time Piece and Literary Companion, to be devoted to "literary amusement and an abridgement of the most interesting intelligence foreign and domestic." He "associated himself," as he expressed it, "as a partner in the typographical line of business with Mr. Alexander Menut of that profession, sometime since from Canada," though, during the first year at least, Freneau had entire control of the editing of the paper. His address to the public is of considerable interest:

The paper is a tastily arranged and neatly printed sheet, and its contents show constantly its editor's rare ability to cater to the public needs. Refinement and a fastidious taste are evidenced everywhere in its columns. Duyckinck comments on "the skill of the selection and the general elegance of the material," which were certainly unusual in those early days of American journalism. The paper had a large number of feminine contributors, who gave freely of their sentimental lyrics and sprightly letters. The poet himself contributed many poems, the most of them, as usual, concerned with contemporary affairs. He republished his translation from the Abbé Robin made in 1783 since, as he declared, only a small edition was then printed, and the work was in the hands of a very few. He republished also his "Tomo Cheeki" letters, introducing them thus:

His pen was constantly active. He wrote vigorous editorials on all passing political measures, and on September 1, 1897, proposed to edit Ledyard's Journals:

Freneau evidently made some progress with the work, for on August 30, 1798, the following advertisement appeared in the Time Piece, as well as in the Charleston City Gazette:

The volume, whether from a failure to secure subscribers or other reasons, was never published.

The partnership of Freneau and Menut was dissolved September 13, 1797, and shortly after, the imprint of the paper was changed to read "Published by P. Freneau and M. L. Davis, No. 26 Moore Street, near Whitehall." On January 3, 1798, Freneau made a visit to Charleston, taking passage in the sloop Katy, and arriving after a rough voyage of thirty-one days. During the following month he was the guest of his brother, Peter, and in the words of his daughter, of "his many friends there, among whom were Charles Pinckney, Governor of South Carolina, Charles Cotesworth Pinckney, General Bull, Edge, and many others where he was as much at home as at his brother's." He embarked from Charleston March 7th and arrived in New York after a week's voyage.

The affairs of the Time Piece were in a critical condition. A part of the subscribers lived at a distance from New York and the expenses were large. Freneau was unwilling to run further risks, and a few days after his return from the South, he withdrew from the firm, having been editor of the paper just one year. He thereupon retired with his family to the little estate at Mount Pleasant, where he made his home for the rest of his life.

The quiet period after the anxiety and stress of editorship in a great city was for a time grateful to the poet. He managed the farm in a desultory way, but his main occupation was composing verses under his favorite locust tree which had been planted by his father and which had increased in size and numbers until in the words of his daughter, "it was a complete grove of locust trees surrounding a house grown old with its time worn owner, his venerable mother and maiden sister beloved and respected for her many virtues. Her decease, which took place a few years previous to his own, he says in an obituary, he can say no more nor less than that 'she was as good and innocent as an angel.'" This sister, Mary Freneau, a beautiful woman, had been wooed at one time by Madison, but for some reason she had refused him.

Freneau's family consisted of four daughters: Eleanor, born in 1791; Agnes W., born June 22, 1794; Catherine L., born February 25, 1798; and Margaret Alaire, born June 10, 1801. Eleanor married a Mr. Hammill, and the four daughters of this union died unmarried; Agnes married Dr. Edward Leadbeater, and the eldest son of this union, at the earnest request of the poet, was christened Philip Leadbeater Freneau, his grandfather putting into his infant hands the ancestral Bible, which was the family treasure. The descendants of Agnes Freneau and Dr. Leadbeater are very numerous. The two younger daughters of the poet never married.

The active pen of Freneau, so long practiced in discussing the affairs of the day, could not rest idle during his period of retirement. He began a series of letters to the Philadelphia Aurora and other papers, and on December 30, 1799, issued them in a volume entitled "Letters on Various Interesting and Important Subjects, many of which have appeared in the Aurora." It bore his old pen name, Robert Slender, with the added title, O. S. M., interpreted later to mean "One of the Swinish Multitude." The book has surprising merit. The letters are written in a breezy, colloquial style, and the simple-minded old cobbler is well characterized. Freneau has actually succeeded in making him a living creature, and his opinions and "whim whams" are full of hard sense and practical wisdom. The book is by all means the best prose that Freneau ever wrote. So easy is the style and so natural is the characterization that I cannot forbear quoting at some length from a chapter chosen almost at random:

In the advertisement of the book, the author made the half promise of more letters in the same vein:

The volume was never published. The little family at Mount Pleasant could not subsist alone on letters and poems, however brilliant. The outlook was not a bright one, as the following letter[17] to his brother Peter, in Charleston, dated March 1, 1801, would indicate:

Freneau was at best a half-hearted farmer. A little anecdote told by the family is eloquent. One day the poet and his wife, who had walked together into the field to inspect the work, found a slave asleep in the young corn. Mrs. Freneau seizing his hoe declared that she would show him how to work. At the very first attempt, however, she cut down a hill of corn, whereupon the slave remarked gleefully: "Ho, ho, Missie Freneau, if that's the way you hoe, the corn'll never grow." She threw down the hoe in disgust, declaring that "No wonder the farm doesn't pay when even the slaves talk in rhymes."

The affairs of the poet were soon such as to give real concern to his friends. In a letter dated September 13, 1801, a part of which we have already quoted, Aedanus Burke wrote Madison:

However this letter may have been received, Freneau obtained no appointment either from Madison or Jefferson, though there is a persistent tradition among his descendants that he was offered a good position under President Jefferson but refused it on the ground that the latter had deserted him in the National Gazette affair. On October 23, 1803, his old-time friend, Francis Bailey, addressed Madison:

As far as we know, there was no response, though the family declare that Madison sent for him and that the poet proudly said, "James Madison knows where I live, let him come to see me."

The "expedition" to mend his fortunes, which he had mentioned to his brother as a disagreeable possibility, became at length inevitable. On Saturday, November 27th, he embarked at New York as Master of the schooner John, bound for Fredericksburg, Virginia, with a cargo of salt. A minute log book of this voyage is still to be seen.[18] After an exceedingly hard experience he returned to New York, January 12, 1803, and the last entry in the log reads "Finished discharging the wheat—1264 bushels at 17 cents a bushel freight—214 dollars and 88 cents."

This was the opening voyage of his last period at sea. His brother Peter had fitted out at Charleston a new brig for the Madeira trade, and until 1807 Freneau was busy plying between Charleston and the Azores. In one of his books of navigation is inscribed the following:

On June 30, 1806, he was in Savannah, Georgia, as Master of the sloop Industry. He made his last voyage to the Azores in the Washington in 1807. During this last period of sea life we find evidences everywhere that this old enthusiasm for nautical adventure had greatly waned. He was a sailor now from sheer necessity; he was approaching old age and he longed for the quiet of his home and his family. In one of his books of navigation of this period is penned a verse made in mid Atlantic:

In 1809, Freneau now in retirement at Mount Pleasant, began a new edition of his poems. On April 8, he wrote Madison:[19]

Madison's reply has been lost, but on May 12th, Freneau answered from Philadelphia:[20]

It is evident that Freneau wrote also to Jefferson, for on May 22, 1809, the latter wrote from Monticello.[22]

The reply to Freneau's second letter to Jefferson has also been lost, but Freneau's letter dated Philadelphia, May 27th, has escaped destruction:[23]

On August 7, 1809, Freneau wrote finally to Madison:[24]

The 1809 collection is the most elaborate of all the earlier editions of Freneau's works. His statement that it was the only one which received his personal supervision is certainly wrong, for he had carefully supervised the 1795 edition. On the title page he announced that the poems were "now republished from the original manuscripts," and that he had added several "translations from the ancients and other pieces not heretofore in print," but the new poems that had not previously appeared in the Time Piece were very few. On the title page also he placed the stanza:

The poet's advertisement is as follows:

The work is divided into four parts:

The author made almost no attempt to arrange the material chronologically as to the dates of composition. He resurrected none of the material dropped from the 1795 collection, but cut from the edition some fifty-five other poems, among them nearly all of the material relating to the French Revolution, the greater number of the New Year Odes, and such fine pieces as "Neversink," "The Country Printer," "Slender's Journey," and "The Wintry Prospect."

The text was taken largely from the 1795 version, and a few minor amendments and changes made, but in no case were they so frequent or so careful as those made for the second edition. The poet's editorial work consisted mainly in elaborated titles with Latin quotations, in foot-notes, and in division of the material into books.

The next few years of Freneau's life were spent quietly at Mount Pleasant. He passed his time, as his daughter describes, "in writing poetry, and in answering and receiving letters." Her picture of the man at this period is full of interest. "Although no farmer, he loved to see the work going on. He was very fond of feeding poultry and all the dumb animals, and when the season came for slaughtering the porkers, he generally managed it so as to have some business in New York, and he was usually absent when poultry was wanted for dinner. Mrs. Freneau had to give orders to the blacks to do it privately. He confessed it a weakness and tried to conceal it."

His interest in politics was still keen. He watched carefully all the premonitory signs of the approaching storm of 1812, and when war was found to be inevitable, his harp was in full tune to satirize the foe, which he had never ceased to hate, and to celebrate the heroes and the victories of his country.

On January 12, 1815, we find him again in correspondence with his old friend Madison:[25]

On March 3d following, he writes again to Madison:[26]

Madison's reply has been lost. On May 10, 1815, Freneau wrote his last letter, as far as we know, to Madison:[27]

The 1815 edition contains no poems previously published in the poet's earlier collections. The work shows no falling off in vigor from the earlier martial standard set by the poet in his more vigorous years. Some critics have declared that the poet's best work is in this collection. Certain it is that a few of the lyrics of battle have a spirit and swing that make them notable productions.

Freneau placed upon the title-page the ringing challenge:

He introduced the work as follows:

The poems were reviewed for the Analectic Magazine by Mr. Gulian C. Verplanck, who said in part:

The last lines used by Verplanck are from "American Bards," a poem published in Philadelphia in 1820. The reference to Freneau is not without interest:

The last years of Freneau's life were eventless, passed quietly at Mount Pleasant, and varied only with frequent visits to New York. Shortly after the issue of the 1815 edition of his poems, the ancestral home was completely destroyed by fire, together with most of the poet's papers, manuscript poems, valuable letters and books—the collection of a lifetime. During his last years he contemplated a complete and final edition of his poetical works. He wrote Dr. Mease of Philadelphia whether there was "enough of the old spirit of patriotism abroad to insure the safety of such an adventure;" and it was the testimony of Alexander Anderson, the once celebrated engraver on wood, that Freneau once consulted with him as to the cost of an illustrated volume of his poems, and departed sadly remarking that his purse was not equal to the venture.

The best picture of the poet in his old age is from the pen of the genial Dr. John W. Francis of New York, who knew him well during his last years:[28]

Freneau's frequent visits to New York were the chief solace of his last years. Says Dr. Francis:

The death of Freneau was a sad one. On the evening of the 18th of December, 1832, he had gone on an errand to Freehold, some two miles distant. When he set out to return, late in the evening, a fierce and blinding storm was in progress. His friends sought to dissuade him, but he insisted on returning. Instead of taking the long way round by the road, he took the usual short way through the fields, and was soon lost in the roaring "blizzard." He circled into a swamp, and doubtless, after hours of wandering, sank down benumbed and hopeless, to be found by his friends a few hours later, still breathing but nearly lifeless. For the whispered tradition that he was intoxicated when he left the town, there is no foundation.

The next issue of the Monmouth Press contained a notice of his death:

His old friend, John Pintard, wrote a biographical notice of the poet in the New York Mirror for January 12, 1833, in which he dwelt largely upon his mental endowments and accomplishments:

The house which Freneau occupied during his last years is still standing. His remains rest in the little cemetery at Mount Pleasant, which recently, in honor of the poet, has been rechristened Freneau.

The personality of Philip Freneau, if we judge from contemporary testimony and the effect which his personal presence invariably exerted, was a singularly winning one. The bluff, hearty old sailor breathed out good-will and honesty with every breath. He was the soul of honor, and, despite his caustic pen, the kindest hearted creature in the world. All that one of his grand-daughters can remember of him is that once he took her upon his knee and chided her for having killed a fly. "Surely," he said, "it was not made without some wise end, and its little life was as dear to him as is yours to you." It reminds one of "My Uncle Toby." There is a cheery optimism in many of his poems. A stanza like this might have been written by Browning:

His temperament was Celtic. He inherited with his French blood a passionate love for beauty, a sensuous, dreamy delight in the merely poetic, in the weird and romantic. He had not the Teutonic stability; he was easily exalted, easily depressed; he went often to extremes; he was sensitive to a degree that made criticism a torture, and he was proud beyond all reason. He had been deeply touched by the principles of the Revolution; he had suffered personally at the hands of the enemy; he had followed Paine in his democratic doctrines even to the extremes, and he tried to live consistently with these exalted ideals. His honesty and his ignorance of the world prevented him from seeing how greatly these principles must be modified to become of really practical value.

His kindly heart made him a fierce foe to all kinds of tyranny and oppression. He saw sights in the West Indies that made him a bitter opponent of human slavery. Again and again in his poems and prose sketches does he condemn the evil. His message is almost as intense as Whittier's:

Not only slavery, but every other form of oppression and wrong received his condemnation. He wrote boldly against intemperance in a day when the use of intoxicating liquors was well-nigh universal and wholly uncriticised; he spoke eloquently on cruelty to animals; and he was one of the earliest to demand equal rights for man and woman.

Freneau's religious inclinations have been sometimes harshly criticised by those of puritanic creed. The school of Dr. Dwight could speak of him only in contempt, yet it is true that the poet was a deeply religious man. His love of freedom and his perfect sincerity affected his creed. He had an intense dislike for hollow formalism. In his "Jamaica Funeral" he has pictured a hypocritical priest in colors as vivid almost as Chaucer's. He detested

"The holy man by Bishops holy made."

He loved sincerity, and the creed that came not from dry formalism, but from reason and from an honest heart.

It has often been overlooked by his critics that Freneau was a widely read and thoroughly cultured man; that he was a linguist of more than ordinary powers; and that he knew intimately the chief writings in Latin, Italian, French, and English. He was no ignorant, careless scribbler, tossing into the ephemeral columns of the press hasty rhymes of which he never thought again. He revised and corrected with patient care, and he took a deep interest in the children of his pen, rescuing at one time or another almost every one of them from the oblivion of the newspaper.

As to the absolute literary value of Freneau's literary remains, there is room for honest difference of opinion. He is certainly not, if we judge him from what he actually produced, a great poet. But he must in fairness be viewed against the background of his age and his environment. Nature had equipped him as she has equipped few other men. He had the poet's creative imagination; he had an exquisite sense of the beautiful; and he had a realization of his own poetic endowments that kept him during a long life constantly true to the muse. Scarcely a month went by in all his life, from his early boyhood, that was not marked by poetic composition. Few poets, even in later and more auspicious days, have devoted their lives more assiduously to song.

Freneau was the first to catch what may be called the new poetic impulse in America—the new epic note. Previous to the Revolutionary era, America was destitute even of the germs of an original literature. Before she could produce anything really strong and individual, there was necessary some great primal impulse that should stir mightily the whole people; that should strike from their hands the old books and the old models; that should arouse them to a true realization of themselves; and that should clear the atmosphere for a new and broader view of human life. Such new forces are always needed by society, but they stalk with long strides over the centuries.

In pre-Revolutionary America such an upheaval was near at hand. It came with appalling suddenness. The colonists had had no gradual preparation for the idea of separation from England. As late as 1775, Franklin declared before the House of Commons that in all of his journeyings up and down the colonies he had not heard expressed one single wish for complete independence. Even after Concord and Bunker Hill, Freneau, the radical, could write:

The idea of independence came all in a moment; but once it had come, it went with leaps and bounds to its extreme. Never in all history has a whole people been lifted by such rapid stages into a region of such vast outlook. We can trace the growth of the new spirit, not decade by decade, but month by month: Justice, Freedom, Independence, and then the radiant vision of perfect Liberty and the Rights of Man, and then like a torrent the sense of boundless possibilities and glorious destiny:

The soul of man stirred by such ideals, and successful in realizing them beyond all dreams, struggled for utterance. It is such upheavals in human society that make poets and bring outbursts of song and periods in the history of literature. But there was no burst of song in America; instead there followed one of the most pathetic spectacles in all literary history—a people with a vision that transported them into the clouds, yet powerless through environment and early education to transmute that vision into song. The South, thrilled by the new spirit, turned it at once into action, and took the leadership in war and statesmanship. New England lifted up her voice, but she could speak only through the medium of old spiritual conceptions and worn-out poetic forms. A young Connecticut parson, thrilled through and through, pours his enthusiasm into an epic of the wars of Joshua done in the heroics of Pope; a brilliant Boston lad would sing of "War and Washington," but he must set it to the tune of Dryden; and a gifted Connecticut satirist, overflowing with the true poetic spirit, is content simply to add new American stanzas to "Hudibras." With all her rhymers and all her inspiration, New England gave forth not a single original note. It was the repeating of the old spectacle of a heavenly anthem sung unto shepherds,—unto those utterly unable to give it utterance.

We see them, however, struggling heroically with the burden. From 1774, when Dwight completed his "Conquest of Canaan," "the first piece of this kind ever attempted in this country," as he observed in his preface, until 1808, which ends the period with Barlow's "Columbiad"—the "Polyolbion" of American poetry—the years are strewn thick with the wrecks of epics. Every poet of the era felt his soul burn with the epic fire. Charles Brockden Brown, when only sixteen, had started no less than three of these Homeric efforts: one on the discovery of America, and one each on the conquests of Mexico and Peru. It was our heroic era, but it yielded almost nothing of value. Mere exaltation availeth little unless it be grounded either upon genius or long-continued culture.

America, however, was not without her genius. Before Dwight and Barlow and Trumbull had written a line, Freneau at Princeton was planning epics American in scene and spirit. He had dreamed, over his Virgil, of a greater Aeneas who had sailed into the pathless West to discover a new world, and to plant there the seeds of a greater than Rome; he had translated with beating heart the words of Seneca:

"Fired at the theme," he had mapped out the epic of a new world; but his work of this era, like all schoolboy epics, had resulted only in fragments which were to strew his earlier volumes. How strong and original was this youthful dream one can judge from the ringing lines of "Columbus to Ferdinand," "Discovery," and the "Pictures of Columbus," which are mere epic fragments. There is an originality and a fire in them utterly new in American poetry. There is poetry of a high order in such a climax as that recording the soliloquy of the dying Columbus, beginning:

But Commencement was at hand. Here was a chance, indeed; here was a theme commensurate with the occasion. The two young dreamers would outline an epic poem; they would essay "Things unattempted yet in prose or rhyme":

Never was graduating exercise based on broader foundations. The young graduates bewail at every step their limitations of space. The plan they suggest is the plan of a "Columbiad." They would begin with all the tale of Columbus; they would rehearse the story of Cortez and Pizarro; they would discuss at learned length the origin and the characteristics of the Indians; they would tell the story of the early colonies; and would trace the course of settlement and review the progress and the promise of agriculture and commerce; they would peer into the future and mark the time

But, alas, the time! An epic cannot be condensed into a graduation exercise. Suddenly the poet bursts into true prophetic rapture:

It is not a great poem when we measure it by absolute standards, but "The Rising Glory of America" is a very great poem if we view it in connection with the conditions and the environment that produced it. Full as it is of Latin influence and Commencement day zeal, it is the first real poem that America ever made—the first poem that was impelled hot from a man's soul. It is more than this, it is the first real fruit of a new influence in the world of letters—the first literary product of that mighty force that was to set in motion the American and French Revolutions, with all that they mean in human history.

America should have recognized this new and original voice, and should have encouraged it to sing the new message which it had to proclaim to the world, but she was not yet ready.

How the young dreamer, who had seen life from his earliest years only through the medium of his books, was gradually disillusioned, we have endeavored to show. His first book, put forth in the enthusiasm of inexperience, with his name on the title-page, was "damned by all good and judicious judges." So was Wordsworth's; so have been the earliest ventures of every innovator in the field of song. Gradually the young poet awoke to a realization of his position: America was unprepared for her prophet; she would not listen. The discovery disheartened him; his Celtic temperament would not patiently wait for recognition, as did Wordsworth; he was too proud to force his poetry upon an unwilling public. He would leave the scene, for three years to dwell in the dreamy seclusion of the tropic islands.

This was his period of pure invention, where he showed the possibilities of his genius. With the "House of Night" he became one of the earliest pioneers in that dimly-lighted region which was soon to be exploited by Coleridge and Poe. The poem is the first distinctly romantic note heard in America. Moreover, one may search in vain in the English poetry of the early romantic movement for anything that can equal it in strength of conception, in mastery of weird epithet, and in sustained command over the vaguely terrible. The page that recounts the poet's departure from the house of night, quaking with fear,—

his timid look behind him to find the windows of the infernal dome a "flaming hell-red," the fearful shrieks of the dying monster within the walls, the "hell-red wandering light" that led him to the graves, the sudden peal of the iron bell above him in the darkness, and then the troop of spectres galloping fiercely on Death's horses, while "their busy eyes shot terror to my soul,"—all this is worthy of Poe. As a product of pure imagination, the poem is most remarkable, especially when we view it in connection with the English literature of its day. In its weird supernaturalism it anticipated Scott, and in its unearthly atmosphere it clearly anticipated Coleridge.

In the "Jamaica Funeral" the poet outlined his early philosophy of life. He was fast breaking from the influence of Gray, his early master. It is a Gallic philosophy that he outlines; he is becoming infected with Deism; he is a true bacchanalian. Is there not a ring of the "Rubaiyat" in a stanza like this:

Freneau's early dream of a purely poetic career was rudely broken by the sudden clash of war and by the sternly practical nature of the American people. Circumstances decided for him his career. There was needed a poetic voice to arouse the common people to action. There was no demand for an imaginative creator, for a sensuous singer of love and wine,—America needed a popular voice, one that could be understood by the unlettered, one that with satire and patriotic appeal could arouse and fire the land. Freneau laid aside for a time the harp and the lyre and took up the trumpet and the bagpipes, and of his influence on the stormy period of the Revolution there can be no two opinions. His ballads and satires were scattered far and wide; they were sold in broadsides in every port and city and camp. Even in the war of 1812 his poems flew like leaves everywhere that men were gathered together. To be the lyrist of a righteous revolution, and above all to be the people's poet, is in itself no small distinction.

His poems of the war are in themselves a running history of the struggle, especially of its last years. His heart was in his work; the prison ship had blotted for a time all memories of the old criticisms of his early work, all his early dreams, everything save "the insulting foe" who was making desolate his dear mother land. He lampooned without mercy Clinton, Cornwallis, Carleton, and the royalist printers, Rivington and Gaine. He sang tender lyrics of the patriot dead at Eutaw Springs, who

He sang peans of victory over the downfall at Yorktown; he exalted the fame of Washington; he called down maledictions on the ship that bore the "worthless Arnold" from American shores. These are more than the fleeting voices of a newspaper muse; they are true poems, and they are American to the core. Scott declared that "Eutaw Springs [was] as fine a thing as there is of the kind in the language."

With a few fiery songs he placed himself at the head of the small group of naval lyrists, a position which even to-day he has not wholly lost. In dash and fire, in ability to catch and reproduce the odors and the atmosphere of the ocean, in enthusiasm and excitement that is contagious and that plunges the reader at once into the heart of the action, and in glowing patriotism that makes the poems national hymns, no American poet has excelled this earliest singer of the American ocean. No true patriot can read without a thrill of pride such songs as "Captain Jones's Invitation" and "The Death of Captain Biddle," a song of the intrepid seaman who from the Randolph poured death into the British ship:

and then in a fatal moment was blown up by his own magazine, and "Stanzas on the New Frigate Alliance," the gallant ship "who walks the ocean like its queen," and "Barney's Victory over the General Monk," that rollicking song of battle and of triumph, and best of all, perhaps, "The Sailor's Invitation," which is full of the very salt and vigor of the western seas. "The Memorable Victory of Paul Jones," written when America was ringing with the first news of the battle, is one of the glories of American literature. Longfellow or Whittier never wrote a more stirring ballad. It moves with leaps and bounds; it is full of the very spirit of battle.

It is not impertinent to observe that Thomas Campbell was but four years of age when this appeared. It was not Scott or Cooper who added the domain of the ocean to literature; it was Freneau. His books are full of the roar and the sweep of the open sea, which he knew as the farmer knows his ancestral acres. There is no more true and vigorous picture of an ocean voyage and a naval combat than that contained in Canto I of "The British Prison Ship." The episode of the boatswain's fiery prayer, just before the conflict, is unique in literature.

The war over, Freneau would return to his dream; he would pour forth the poetic message that was in him; but his countrymen, delighting in his hard blows and biting sarcasm, refused to listen to the merely poetic. They demanded jingles and clever hits. The poet turned fiercely upon them. "For men I keep a pen," he cried, "for dogs a cane." The time for using the cane was past; he would use it no more. But who would listen to anything that was not rant and bombast? Fate had thrown him into a "bard-baiting clime." A wave of the old bitterness swept over him:

How he at length deliberately turned from the muse of his choice, and how after a long experience with the world of actual affairs he exchanged his old poetic ideals for those of mere reason and common sense, we have attempted to show.

Here was a man equipped by nature for a true poet, a man with a message, yet dwarfed and transformed by his environment. America was not ready for her singer. It took half a century more to make way in the wilderness for the new message that had been whispered to Freneau in his young manhood. Had he been a great world-poet, he would have been heard despite all difficulties; he would have trampled down the barriers about him and have compelled his age to listen, but the task was beyond him. America, to this day, has produced no poet who single-handed and alone could have performed such a labor of Hercules. Sadly Freneau turned to other things.

He has never been adequately recognized. Had the first edition of his poems, published the same year as the Kilmarnock edition of Burns, been an English book, it long ago would have figured largely in the histories of the romantic and naturalistic movement which made possible the great outburst of the nineteenth century. That Freneau was the most conspicuous pioneer in the dim romantic world that was to be explored by Coleridge and Poe, we have already shown; that he was a pioneer in the movement that succeeded in throwing off the chain forged by Pope is evident to any one who will examine his early work. "The Wild Honey Suckle," for instance, which was written in 1786, twelve years before the "Lyrical Ballads," is as spontaneous and as free from Pope as anything written by Wordsworth. It is a nature lyric written with the eye upon the object, without recollection of other poetry, and it draws from the humble flower a lesson for humanity in the true Wordsworthian manner. Before Freneau, American poetry had been full of the eglantine, the yew, the Babylonian willow, the lark—the flora and fauna of the Hebrew and British bards. In our poet we find, for the first time, the actual life of the American forest and field—the wild pink, the elm, the wild honeysuckle, the pumpkin, the blackbird, the squirrel, the partridge, "the loquacious whip-poor-will," and in addition to this the varied life of the American tropic islands. We find for the first time examples of that true poetic spirit that can find inspiration in humble and even vulgar things; that, furthermore, can draw from lowly nature and her commonplaces deep lessons for human life. Freneau sees the reflection of the stars in the bosom of the river,

and from this he draws the obvious moral for human life. Consider what Pope would have said of mud. Indeed, to appreciate Freneau, one must come to him after a careful reading of the classic poets who preceded him. What a shock to this school would have been the vividly realistic poem on "Logtown." Just how much Freneau influenced the school of poets who in England broke away from the trammels of the eighteenth century, we can never know; yet no one can read long in the American poet and not be convinced that his influence was considerable. His poems were known and read freely in England at the very dawn of the critical period in British poetry, and their echoes can be detected more than once.

In his use of his native land and his familiar surroundings as a background for art, Freneau discovered the poetical side of the Indian, and thus became the literary father of Brockden Brown, Cooper, and the little school of poets which in the early years of the century fondly believed that the aboriginal American was to be the central figure in the poetry of the new world. To the little real poetry that there is in the Indian, Freneau did full justice, but he went to no such absurd lengths as did Eastburn and Whittier. The "Indian Death Song," if it indeed be his, is full of the wild, stoical heroism of the brave who is dying beneath the torture of his enemies. In "The Indian Student" he has covered fully the Indian's love for the pathless forest, and to the untamable wildness of his nature. "The Dying Indian" and "The Indian Burying-Ground" sum up what is essentially poetic in Indian legend and all that is pathetic in the fate of the vanishing race. Poetry, if it is to confine itself to the truth, can do little more for the Indian.

Such was Philip Freneau, a man in every respect worthy to bear the title of "the father of American poetry." He was the first true poet born upon our continent; he realized in his early youth his vocation; he gave himself with vigor and enthusiasm to his calling; he fitted himself by wide reading and classic culture; he received the full inspiration of a great movement in human society; he lifted up his voice to sing, but he was smothered and silenced by his contemporaries. He was all alone; he had about him no circle of "Pleiades" to encourage and assist; he had no traditions, religious or otherwise, that would compel silence. He was out of step with the theology of his generation; he was out of tune with the music of his day; he was beating time a half century ahead of the chorus about him. The people have to be educated to revolution, and America had not yet learned to take the initiative in things intellectual and æsthetic. She must follow the literary fashions beyond the sea. Freneau was for breaking violently away from England and for setting up a new standard of culture and literary art on this side the water.

he cried. But he reckoned without his countrymen. Not until Emerson's day did it dawn upon America that it was possible for her to think for herself and make poetry that did not echo the English bards. Thus did America reject her earliest prophet; thus did she stop her ears and compel him to lay aside his seven-stringed lyre for the horn and the bagpipes.

Freneau lived to see his discarded harp in full tune in other hands, first in England and then in his own land. There is something truly pathetic in the figure of the old minstrel, who had realized almost nothing of his early dreams, and yet who had been told by the great Jeffries that the time would surely come when his poems would command a commentator like Gray, who had been extravagantly praised by such masters as Scott and Campbell, who had written to Madison as late as 1815, "my publisher tells me the town will have them [his verses] and of course have them they will," it is pathetic to see this poet, in his hoary old age, for he lived until 1832, realizing that he had been utterly forgotten, witnessing the triumph of the very songs that had haunted his youth, and seeing those who had not half his native ability crowned by those who had rejected and forgotten him. Such ever is the penalty of being born out of due time.

The present age has also been unjust to Freneau. It has left his poems in their first editions, which are now extremely rare and costly; it has scattered his letters and papers to the winds; it has garbled and distorted his life in every book of reference; it has left untold the true story of his career; it has judged him from generalizations that have floated from no one knows where. But time works slowly with her verdicts; true merit in the end is sure to receive its deserts; and Freneau may even yet be given the place that is his.

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Versified (or rather paraphrased) from the sacred writings.

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Written in 1768.

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Debemur morti nos nostraque!

A Dialogue. Written in 1770.

Scene.—Egypt.       Persons.—Traveller, Genius, Time.

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Written 1770.

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Written 1770.

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Being part of a Dialogue pronounced on a public occasion.

The subject proposed.—The discovery of America by Columbus.—A philosophical enquiry into the origin of the savages of America.—The first planters from Europe.—Causes of their migration to America.—The difficulties they encountered from the jealousy of the natives.—Agriculture descanted on.—Commerce and navigation.—Science.—Future prospects of British usurpation, tyranny, and devastation on this side the Atlantic.—The more comfortable one of Independence, Liberty and Peace.—Conclusion.

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(By Hezekiah Salem)

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Columbus making Maps[A]

The Cell of an Inchantress

The Mirror

Columbus addresses King Ferdinand

Ferdinand and his First Minister

Columbus addresses Queen Isabella

Queen Isabella's Page of Honour writing a reply to Columbus

Columbus at the Harbour of Palos, in Andalusia

A Sailor's Hut, near the Shore

Thomas and Susan

Bernardo, a Spanish Friar, in his canonicals

Orosio, a Mathematician, with his scales and compasses

Columbus and a Pilot

Discontents at Sea

Juan de Villa-Real to Columbus

(A Billet)

Columbus at Cat Island

Columbus in a Tempest, on his return to Spain

Columbus visits the Court at Barcelona

Columbus in Chains[A]

Columbus at Valladolid[A]

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Written soon after an excursion to the village at that place in August,
1775, under the character of Timothy Taurus, a student
in astrology; and formerly printed in New-York.

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