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Only two poems written by Phillis Wheatley after her marriage are in existence. These are "Liberty and Peace," and "An Elegy Sacred to the Memory of Dr. Samuel Cooper." Both were published in 1784. Of "Poems on Various Subjects," the following advertisement appeared in the Boston Gazette for January 24, 1774:

This Day Published

Adorn'd with an Elegant Engraving of the Author,

(Price 3s. 4d. L. M. Bound,)

POEMS

on various subjects, – Religious and Moral,

By Phillis Wheatley, a Negro Girl

Sold by Mess's Cox & Berry,

at their Store, in King-Street, Boston

N. B. – The subscribers are requested to apply for their

copies

The little octavo volume of 124 pages contains 39 poems. One of these, however, must be excluded from the enumeration, as it is simply "A Rebus by I. B.," which serves as the occasion of Phillis Wheatley's poem, the answer to it. Fourteen of the poems are elegiac, and at least six others are occasional. Two are paraphrases from the Bible. We are thus left with sixteen poems to represent the best that Phillis Wheatley had produced by the time she was twenty years old. One of the longest of these is "Niobe in Distress for Her Children Slain by Apollo, from Ovid's Metamorphoses, Book VI, and from a View of the Painting of Mr. Richard Wilson." This poem contains two interesting examples of personification (neither of which seems to be drawn from Ovid), "fate portentous whistling in the air," and "the feather'd vengeance quiv'ring in his hands," though the point might easily be made that these are little more than a part of the pseudo-classic tradition. The poem, "To S. M., a Young African Painter, on seeing his works," was addressed to Scipio Moorhead, a young man who exhibited some talent for drawing and who was a servant of the Rev. John Moorhead of Boston. From the poem we should infer that one of his subjects was the story of Damon and Pythias. Of prime importance are the two or three poems of autobiographical interest. We have already remarked "On Being Brought from Africa to America." In the lines addressed to William, Earl of Dartmouth, the young woman spoke again from her personal experience. Important also in this connection is the poem "On Virtue," with its plea:

 
Attend me, Virtue, thro' my youthful years!
O leave me not to the false joys of time!
But guide my steps to endless life and bliss.
 

One would suppose that Phillis Wheatley would make of "An Hymn to Humanity" a fairly strong piece of work. It is typical of the restraint under which she labored that this is one of the most conventional things in the volume. All critics agree, however, that the strongest lines in the book are those entitled "On Imagination." This effort is more sustained than the others, and it is the leading poem that Edmund Clarence Stedman chose to represent Phillis Wheatley in his "Library of American Literature." The following lines are representative of its quality:

 
Imagination! Who can sing thy force?
Or who describe the swiftness of thy course?
Soaring through air to find the bright abode,
Th' empyreal palace of the thundering God,
We on thy pinions can surpass the wind,
And leave the rolling universe behind:
From star to star the mental optics rove,
Measure the skies, and range the realms above;
There in one view we grasp the mighty whole,
Or with new worlds amaze th' unbounded soul.
 

Hardly beyond this is "Liberty and Peace," the best example of the later verse. The poem is too long for inclusion here, but may be found in Duyckinck's "Cyclopedia of American Literature," and Heartman and Schomburg's collected edition of the Poems and Letters.

It is unfortunate that, imitating Pope, Phillis Wheatley more than once fell into his pitfalls. Her diction – "fleecy care," "vital breath," "feather'd race" – is distinctly pseudo-classic. The construction is not always clear; for instance, in the poem, "To Mæcenas," there are three distinct references to Virgil, when grammatically the poetess seems to be speaking of three different men. Then, of course, any young writer working under the influence of Pope and his school would feel a sense of repression. If Phillis Wheatley had come on the scene forty years later, when the romantic writers had given a new tone to English poetry, she would undoubtedly have been much greater. Even as it was, however, she made her mark, and her place in the history of American literature, though not a large one, is secure.

Hers was a great soul. Her ambition knew no bounds, her thirst for knowledge was insatiable, and she triumphed over the most adverse circumstances. A child of the wilderness and a slave, by her grace and culture she satisfied the conventionalities of Boston and of England. Her brilliant conversation was equaled only by her modest demeanor. Everything about her was refined. More and more as one studies her life he becomes aware of her sterling Christian character. In a dark day she caught a glimpse of the eternal light, and it was meet that the first Negro woman in American literature should be one of unerring piety and the highest of literary ideals.

III
PAUL LAURENCE DUNBAR

INCOMPARABLY the foremost exponent in verse of the life and character of the Negro people has been Paul Laurence Dunbar. This gifted young poet represented perfectly the lyric and romantic quality of the race, with its moodiness, its abandon, its love of song, and its pathetic irony, and his career has been the inspiration of thousands of the young men and women whose problems he had to face, and whose aspirations he did so much to realize.

Dunbar was born in Dayton, Ohio, June 27, 1872. His parents were uneducated but earnest hard-working people, and throughout his life the love of the poet for his mother was ever a dominating factor. From very early years Dunbar made little attempts at rhyming; but what he afterwards called his first poetical achievement was his recitation of some original verses at a Sunday School Easter celebration when he was thirteen years old. He attended the Steele High School in Dayton, where he was the only Negro student in his class; and by reason of his modest and yet magnetic personality, he became very popular with his schoolmates. In his second year he became a member of the literary society of the school, afterwards became president of the same, as well as editor of The High School Times, a monthly student publication, and on his completion of the course in 1891 he composed the song for his class. Somewhat irregularly for the next two or three years Dunbar continued his studies, but he never had the advantage of a regular college education. On leaving the high school, after vainly seeking for something better, he accepted a position as elevator boy, working for four dollars a week. In 1893, at the World's Columbian Exposition in Chicago, he was given a position by Frederick Douglass, who was in charge of the exhibit from Hayti. "Oak and Ivy" appeared in 1893, and "Majors and Minors" in 1895. These little books were privately printed; Dunbar had to assume full responsibility for selling them, and not unnaturally he had many bitter hours of discouragement. Asking people to buy his verses grated on his sensitive nature, and he once declared to a friend that he would never sell another book. Sometimes, however, he succeeded beyond his highest hopes, and gradually, with the assistance of friends, chief among whom was Dr. H. A. Tobey, of Toledo, the young poet came into notice as a reader of his verses. William Dean Howells wrote a full-page review of his poems in the issue of Harper's Weekly that contained an account of William McKinley's first nomination for the presidency. Dunbar was now fairly launched upon his larger fame, and "Lyrics of Lowly Life," published by Dodd, Mead & Co. in 1896, introduced him to the wider reading public. This book is deservedly the poet's best known. It contained the richest work of his youth and was really never surpassed. In 1897 Dunbar enhanced his reputation as a reader of his own poems by a visit to England. About this time he was very busy, writing numerous poems and magazine articles, and meeting with a success that was so much greater than that of most of the poets of the day that it became a vogue. In October, 1897, through the influence of Robert G. Ingersoll, he secured employment as an assistant in the reading room of the Library of Congress, Washington; but he gave up this position after a year, for the confinement and his late work at night on his own account were making rapid inroads upon his health. On March 6, 1898, Dunbar was married to Alice Ruth Moore, of New Orleans, who also had become prominent as a writer. Early in 1899 he went South, visiting Tuskegee and other schools, and giving many readings. Later in the same year he went to Colorado in a vain search for health. Books were now appearing in rapid succession, short story collections and novels as well as poems. "The Uncalled," written in London, reflected the poet's thought of entering the ministry. It was followed by "The Love of Landry," a Colorado story; "The Fanatics," and "The Sport of the Gods." Collections of short stories were, "Folks from Dixie," "The Strength of Gideon," "In Old Plantation Days," and "The Heart of Happy Hollow." Volumes of verse were "Lyrics of the Hearthside," "Lyrics of Love and Laughter," "Lyrics of Sunshine and Shadow," as well as several specially illustrated volumes. Dunbar bought a home in Dayton, where he lived with his mother. His last years were a record of sincere friendships and a losing fight against disease. He died February 9, 1906. He was only thirty-three, but he "had existed millions of years."

Unless his novels are considered as forming a distinct class, Dunbar's work falls naturally into three divisions: the poems in classic English, those in dialect, and the stories in prose. It was his work in the Negro dialect that was his distinct contribution to American literature. That this was not his desire may be seen from the eight lines entitled, "The Poet," in which he longed for success in the singing of his "deeper notes" and spoke of his dialect as "a jingle in a broken tongue." Any criticism of Dunbar's classic English verse will have to reckon with the following poems: "Ere Sleep Comes Down to Soothe the Weary Eyes," "The Poet and His Song," "Life," "Promise and Fulfillment," "Ships That Pass in the Night," and "October." In the pure flow of lyrical verse the poet rarely surpassed his early lines:¹

 
Ere sleep comes down to soothe the weary eyes,
How questioneth the soul that other soul —
The inner sense which neither cheats nor lies,
But self exposes unto self, a scroll
Full writ with all life's acts unwise or wise,
In characters indelible and known;
So, trembling with the shock of sad surprise,
The soul doth view its awful self alone,
Ere sleep comes down to soothe the weary eyes.
 

"The Poet and his Song" is also distinguished for its simplicity and its lyric quality:

 
A song is but a little thing,
And yet what joy it is to sing!
In hours of toil it gives me zest,
And when at eve I long for rest;
When cows come home along the bars,
And in the fold I hear the bell,
As night, the Shepherd, herds his stars,
I sing my song, and all is well.
 

* * * * *

 
Sometimes the sun, unkindly hot,
My garden makes a desert spot;
Sometimes a blight upon the tree
Takes all the fruit away from me;
And then with throes of bitter pain
Rebellious passions rise and swell;
But life is more than fruit or grain,
And so I sing, and all is well.
 

The two stanzas entitled "Life" have probably been quoted more than any other lines written by the poet:

 
A crust of bread and a corner to sleep in,
A minute to smile and an hour to weep in,
A pint of joy to a peck of trouble,
And never a laugh but the moans come double;
And that is life.
 
 
A crust and a corner that love makes precious,
With a smile to warm and the tears to refresh us;
And joy seems sweeter when cares come after,
And a moan is the finest of foils for laughter;
And that is life.
 

"Promise and Fulfillment" was especially admired by Mrs. Minnie Maddern Fiske, who frequently recited it with never-failing applause. Of the poet's own reading of "Ships that Pass in the Night" on one occasion, Brand Whitlock wrote: "That last evening he recited – oh! what a voice he had – his 'Ships that Pass in the Night.' I can hear him now and see the expression on his fine face as he said, 'Passing! Passing!' It was prophetic."

Other pieces, no more distinguished in poetic quality, are of special biographical interest. "Robert Gould Shaw" was the expression of pessimism as to the Negro's future in America. "To Louise" was addressed to the young daughter of Dr. Tobey, who, on one occasion, when the poet was greatly depressed, in the simple way of a child cheered him by her gift of a rose. "The Monk's Walk" reflects the poet's thought of being a preacher. Finally, there is the swan song, "Compensation," contributed to Lippincott's, eight exquisite lines:

 
Because I had loved so deeply,
Because I had loved so long,
God in his great compassion
Gave me the gift of song.
 
 
Because I have loved so vainly,
And sung with such faltering breath,
The Master in infinite mercy
Offers the boon of Death.
 

The dialect poems suffer by quotation, being artistic primarily as wholes. Of these, by common consent, the masterpiece is, "When Malindy Sings," a poem inspired by the singing of the poet's mother. Other pieces in dialect that have proved unusually successful, especially as readings, are "The Rivals," "A Coquette Conquered," "The Ol' Tunes," "A Corn-Song," "When de Co'n Pone's Hot," "How Lucy Backslid," "The Party," "At Candle-Lightin' Time," "Angelina," "Whistling Sam," "Two Little Boots," and "The Old Front Gate." Almost all of these poems represent the true humorist's blending of humor and pathos, and all of them exemplify the delicate and sympathetic irony of which Dunbar was such a master. As representative of the dialect verse at its best, attention might be called to a little poem that was included in the illustrated volume, "Candle-Lightin' Time," but that, strangely enough, was omitted from both of the larger editions of the poems, very probably because the title, "Lullaby," was used more than once by the poet:

 
Kiver up yo' haid, my little lady,
Hyeah de win' a-blowin' out o' do's,
Don' you kick, ner projick wid de comfo't,
Less'n fros'll bite yo' little toes.
Shut yo' eyes, an' snuggle up to mammy;
Gi' me bofe yo' han's, I hol' 'em tight;
Don' you be afeard, an' 'mence to trimble
Des ez soon ez I blows out de light.
 
 
Angels is a-mindin' you, my baby,
Keepin' off de Bad Man in de night.
Whut de use o' bein' skeered o' nuffin'?
You don' fink de da'kness gwine to bite?
Whut de crackin' soun' you hyeah erroun' you? —
Lawsy, chile, you tickles me to def! —
Dat's de man what brings de fros', a-paintin'
Picters on de winder wid his bref.
 
 
Mammy ain' afeard, you hyeah huh laughin'?
Go 'way, Mistah Fros', you can't come in;
Baby ain' erceivin' folks dis evenin',
Reckon dat you'll have to call ag'in.
Curl yo' little toes up so, my 'possum —
Umph, but you's a cunnin' one fu' true! —
Go to sleep, de angels is a-watchin',
An' yo' mammy's mindin' of you, too.
 

The short stories of Dunbar would have been sufficient to make his reputation, even if he had not written his poems. One of the best technically is "Jimsella," from the "Folks from Dixie" volume. This story exhibits the pathos of the life of unskilled Negroes in the North, and the leading of a little child. In the sureness with which it moves to its conclusion it is a beautiful work of art. "A Family Feud" shows the influence of an old servant in a wealthy Kentucky family. In similar vein is "Aunt Tempe's Triumph." "The Walls of Jericho" is an exposure of the methods of a sensational preacher. Generally these stories attempt no keen satire, but only a faithful portrayal of conditions as they are, or, in most cases, as they were in ante-bellum days. Dunbar's novels are generally weaker than his short stories, though "The Sport of the Gods," because of its study of a definite phase of life, rises above the others. Nor are his occasional articles especially strong. He was eminently a lyric poet. By his graceful and beautiful verse it is that he has won a distinct place in the history of American literature.

By his genius Paul Laurence Dunbar attracted the attention of the great, the wise, and the good. His bookcase contained many autograph copies of the works of distinguished contemporaries. The similarity of his position in American literature to that of Burns in English has frequently been pointed out. In our own time he most readily invites comparison with James Whitcomb Riley. The writings of both men are distinguished by infinite tenderness and pathos. But above all worldly fame, above even the expression of a struggling people's heart, was the poet's own striving for the unattainable. There was something heroic about him withal, something that links him with Keats, or, in this latter day, with Rupert Brooke and Alan Seeger. He yearned for love, and the world rushed on; then he smiled at death and was universally loved.

IV
CHARLES W. CHESNUTT

CHARLES WADDELL CHESNUTT, the best known novelist and short story writer of the race, was born in Cleveland, Ohio, June 20, 1858. At the age of sixteen he began to teach in the public schools of North Carolina, from which state his parents had gone to Cleveland; and at the age of twenty-three he became principal of the State Normal School at Fayetteville. In 1883 he left the South, engaging for a short while in newspaper work in New York City, but going soon to Cleveland, where he worked as a stenographer. He was admitted to the bar in 1887.

While in North Carolina Mr. Chesnutt studied to good purpose the dialect, manners, and superstitions of the Negro people of the state. In 1887 he began in the Atlantic Monthly the series of stories which was afterwards brought together in the volume entitled, "The Conjure Woman." This book was published by the Houghton Mifflin Co., the firm which published also Mr. Chesnutt's other collection of stories and the first two of his three novels. "The Wife of his Youth, and Other Stories of the Color-Line" appeared in 1899. In the same year appeared a compact biography of Frederick Douglass, a contribution to the Beacon Biographies of Eminent Americans. Three novels have since appeared, as follows: "The House Behind the Cedars" (1900); "The Marrow of Tradition" (1901); and "The Colonel's Dream" (1905).

Mr. Chesnutt's short stories are not all of the same degree of excellence, but the best ones show that he is fully master of the short story as a literary form. One of the best technically is "The Bouquet." This is a story of the devotion of a little Negro girl to her white teacher, and shows clearly how the force of Southern prejudice might forbid the expression of simple love not only in a representative home, but even when the object of the devotion is borne to the cemetery. "The Sheriff's Children" is a tragic tale of the relations of a white father with his illegitimate colored son. Most famous of all these stories, however, is "The Wife of his Youth," a simple work of art of great intensity. It is a tale of a very fair colored man who, just before the Civil War, by the aid of his Negro wife, makes his way from slavery in Missouri to freedom in a Northern city, Groveland [Cleveland?]. After the years have brought to him business success and culture, and he has become the acknowledged leader of his social circle and the prospective husband of a very attractive young widow, his wife suddenly appears on the scene. The story ends with Mr. Ryder's acknowledging before a company of guests the wife of his youth. Such stories as these, each setting forth a certain problem and working it out to its logical conclusion, reflect great credit upon the literary skill of the writer.

Of the novels, "The House Behind the Cedars" is commonly given first place. In the story of the heroine, Rena Walden, are treated some of the most subtle and searching questions raised by the color-line. Rena is sought in love by three men, George Tryon, a white man, whose love fails when put to the test; Jeff Wain, a coarse and brutal mulatto, and Frank Fowler, a devoted young Negro, who makes every sacrifice demanded by love. The novel, especially in its last pages, moves with an intensity that is an unmistakable sign of power. It is Mr. Chesnutt's most sustained treatment of the subject for which he has become best known, that is, the delicate and tragic situation of those who live on the border-line of the races; and it is the best work of fiction yet written by a member of the race in America. In "The Marrow of Tradition" the main theme is the relations of two women, one white and one colored, whose father, the same white man, had in time been married to the mother of each. The novel touches upon almost every phase of the Negro Problem. It is a powerful plea, but perhaps too much a novel of purpose to satisfy the highest standards of art. The Wellington of the story is very evidently Wilmington, N. C., and the book was written immediately after the race troubles in that city in 1898. "The Colonel's Dream" is a sad story of the failure of high ideals. Colonel Henry French is a man who, born in the South, achieves success in New York and returns to his old home for a little vacation, only to find himself face to face with all the problems that one meets in a backward Southern town. "He dreamed of a regenerated South, filled with thriving industries, and thronged with a prosperous and happy people, where every man, having enough for his needs, was willing that every other man should have the same; where law and order should prevail unquestioned, and where every man could enter, through the golden door of hope, the field of opportunity, where lay the prizes of life, which all might have an equal chance to win or lose." Becoming interested in the injustice visited upon the Negroes in the courts, and in the employment of white children in the cotton-mills, Colonel French encounters opposition to his benevolent plans, opposition which finally sends him back to New York defeated. Mr. Chesnutt writes in simple, clear English, and his methods might well be studied by younger writers who desire to treat, in the guise of fiction, the many searching questions that one meets to-day in the life of the South.