The Works of John Greenleaf Whittier, Volume VI. (Of VII) Old Portraits and Modern Sketches, Plus Personal Sketches and Tributes and Historical Papers — Themes and Context

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Whittier, John Greenleaf, 1807-1892 Project Gutenberg 2005 Not confirmed
Biography; History Readers of public-domain and historical texts
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Words 113,197
Reading time 493 min
Text sections 13

For The Works of John Greenleaf Whittier, Volume VI. (Of VII) Old Portraits and Modern Sketches, Plus Personal Sketches and Tributes and Historical Papers — Themes and Context, the stored edition analysis reports 113,197 words, 8 hr 13 min estimated reading time, and 13 detected text sections.

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Project Gutenberg metadata also associates the work with “Biography,” connecting these edition facts with the source record’s subject description.

Whittier's biographical sketches of historical figures like John Bunyan and Nathaniel Peabody Rogers, blending personal recollections with literary analysis, reveal his method of using individual lives to explore moral and social themes.
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They were happy in their brief existence, and their death was but a sleep. He felt himself alienated from God, a discord in the harmonies of the universe. The very rooks which fluttered around the old church spire seemed more worthy of the Creator's love and care than himself. A vision of the infernal fire, like that glimpse of hell which was afforded to Christian by the Shepherds, was continually before him, with its "rumbling noise, and the cry of some tormented, and the scent of brimstone." Whithersoever he went, the glare of it scorched him, and its dreadful sound was in his ears. His vivid but disturbed imagination lent new terrors to the awful figures by which the sacred writers conveyed the idea of future retribution to the Oriental mind. Bunyan's World of Woe, if it lacked the colossal architecture and solemn vastness of Milton's Pandemonium, was more clearly defined; its agonies were within the pale of human comprehension; its victims were men and women, with the same keen sense of corporeal suffering which they possessed in life; and who, to use his own terrible description, had "all the loathed variety of hell to grapple with; fire unquenchable, a lake of choking brimstone, eternal chains, darkness more black than night, the everlasting gnawing of the worm, the sight of devils, and the yells and outcries of the damned."

His mind at this period was evidently shaken in some degree from its balance. He was troubled with strange, wicked thoughts, confused by doubts and blasphemous suggestions, for which he could only account by supposing himself possessed of the Devil. He wanted to curse and swear, and had to clap his hands on his mouth to prevent it. In prayer, he felt, as he supposed, Satan behind him, pulling his clothes, and telling him to have done, and break off; suggesting that he had better pray to him, and calling up before his mind's eye the figures of a bull, a tree, or some other object, instead of the awful idea of God.

He notes here, as cause of thankfulness, that, even in this dark and clouded state, he was enabled to see the "vile and abominable things fomented by the Quakers," to be errors. Gradually, the shadow wherein he had so long

"Walked beneath the day's broad glare, A darkened man,"

passed from him, and for a season he was afforded an "evidence of his salvation from Heaven, with many golden seals thereon hanging in his sight." But, ere long, other temptations assailed him. A strange suggestion haunted him, to sell or part with his Saviour. His own account of this hallucination is too painfully vivid to awaken any other feeling than that of sympathy and sadness.

"I could neither eat my food, stoop for a pin, chop a stick, or cast mine eye to look on this or that, but still the temptation would come, Sell Christ for this, or sell Christ for that; sell him, sell him.

"Sometimes it would run in my thoughts, not so little as a hundred times together, Sell him, sell him; against which, I may say, for whole hours together, I have been forced to stand as continually leaning and forcing my spirit against it, lest haply, before I were aware, some wicked thought might arise in my heart, that might consent thereto; and sometimes the tempter would make me believe I had consented to it; but then I should be as tortured upon a rack, for whole days together.

"This temptation did put me to such scares, lest I should at sometimes, I say, consent thereto, and be overcome therewith, that, by the very force of my mind, my very body would be put into action or motion, by way of pushing or thrusting with my hands or elbows; still answering, as fast as the destroyer said, Sell him, I will not, I will not, I will not; no, not for thousands, thousands, thousands of worlds; thus reckoning, lest I should set too low a value on him, even until I scarce well knew where I was, or how to be composed again.

Whittier opens his sketch of John Bunyan by asking a series of rhetorical questions that draw the reader into shared childhood memories of Pilgrim's Progress: 'Who has not, in childhood, followed the wandering Christian on his way to the Celestial City?' This direct address establishes a communal, nostalgic tone, but quickly shifts to a more mature appreciation, noting how the story's 'plummet of its truth sounding in the deep places of the soul' offers 'timely warning or grateful encouragement.' The passage exemplifies Whittier's technique of moving from personal recollection to broader reflection, a pattern that recurs throughout the volume.

Personal Recollections as Historical Method

Whittier frequently inserts himself into his portraits, as when he describes visiting Nathaniel Peabody Rogers at his 'mountain home, on the banks of the Pemigewasset.' He recounts sharing 'two delightful evenings' with Rogers, noting his 'keen wit, inimitable humor, and childlike and simple mirthfulness.' This personal witness lends authenticity but also shapes the portrait: Whittier selects details that align with his own values, such as Rogers's 'full appreciation of the beautiful in art and nature.' The sketch of Rogers also reveals Whittier's method of juxtaposing praise with critical distance, observing that Rogers 'was not a profound reasoner: his imagination and brilliant fancy played the wildest tricks with his logic.'

Contrasts Between Public and Private Character

In the sketch of Rogers, Whittier highlights a stark transformation: 'A zealous Calvinistic church-member, he became an equally zealous opponent of churches and priests; a warm politician, he became an ultra non-resistant and no-government man.' This pattern of reversal appears in other sketches as well. Whittier presents these shifts not as inconsistencies but as evidence of 'sincerity,' even when they led to 'injustice to individuals' or 'irreverent sport' with sacred subjects. The tension between Rogers's earlier and later selves becomes a lens through which Whittier examines the costs of moral conviction, without fully resolving the contradictions.

The Role of Place in Shaping Character

Whittier grounds his subjects in specific landscapes. Rogers's home is described with precise geography: 'his fine outlook at Plymouth upon the mountains of the North, Moosehillock and the Haystacks.' The move from this setting to Concord for editing the Herald of Freedom marks a turning point. Similarly, the Bunyan sketch evokes the 'Wicket Gate and the Archers, the Hill of Difficulty' as mental landscapes. Place functions as both literal setting and metaphor: the 'mountain home' suggests isolation and integrity, while the 'valley of the White Mountain tributary' frames the encounter with Rogers as a pastoral interlude. These geographical details anchor the portraits in a tangible world.

Readers approaching this volume should attend to the interplay between Whittier's personal anecdotes and his broader historical arguments. The sketches are not neutral biographies but moral inquiries, where the author's own sympathies and reservations shape the narrative. Noticing when Whittier steps back to offer judgment—and when he withholds it—reveals the ethical framework underlying these portraits.

Last night I kept thinking about Whittier’s quiet way of finding entire worlds inside one person’s life—John Bunyan’s stubborn hope, for instance. It felt less like biography, more like a slow exhale. That same gentle lingering came back when I sat with On reading in relation to literature — Text and Context. Both books seem to whisper that stories are just people, waiting for us to notice them.

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