The Bridal of Pennacook Part 2 From Volume I of The Works of John Greenleaf Whittier — Context and Discussion
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The Bridal of Pennacook Part 2 From Volume I of The Works of John Greenleaf Whittier — Context and Discussion can be approached with a clearer sense of reading commitment from its source measurements: 8,689 words, 38 min estimated reading time, and 1 detected text section.
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There were five souls of us whom travel's chance Had thrown together in these wild north hills A city lawyer, for a month escaping From his dull office, where the weary eye Saw only hot brick walls and close thronged streets; Briefless as yet, but with an eye to see Life's sunniest side, and with a heart to take Its chances all as godsends; and his brother, Pale from long pulpit studies, yet retaining The warmth and freshness of a genial heart, Whose mirror of the beautiful and true, In Man and Nature, was as yet undimmed By dust of theologic strife, or breath Of sect, or cobwebs of scholastic lore; Like a clear crystal calm of water, taking The hue and image of o'erleaning flowers, Sweet human faces, white clouds of the noon, Slant starlight glimpses through the dewy leaves, And tenderest moonrise. 'T was, in truth, a study, To mark his spirit, alternating between A decent and professional gravity And an irreverent mirthfulness, which often Laughed in the face of his divinity, Plucked off the sacred ephod, quite unshrined The oracle, and for the pattern priest Left us the man. A shrewd, sagacious merchant, To whom the soiled sheet found in Crawford's inn, Giving the latest news of city stocks And sales of cotton, had a deeper meaning Than the great presence of the awful mountains Glorified by the sunset; and his daughter, A delicate flower on whom had blown too long Those evil winds, which, sweeping from the ice And winnowing the fogs of Labrador, Shed their cold blight round Massachusetts Bay, With the same breath which stirs Spring's opening leaves And lifts her half-formed flower-bell on its stem, Poisoning our seaside atmosphere.
It chanced that as we turned upon our homeward way, A drear northeastern storm came howling up The valley of the Saco; and that girl Who had stood with us upon Mount Washington, Her brown locks ruffled by the wind which whirled In gusts around its sharp, cold pinnacle, Who had joined our gay trout-fishing in the streams Which lave that giant's feet; whose laugh was heard Like a bird's carol on the sunrise breeze Which swelled our sail amidst the lake's green islands, Shrank from its harsh, chill breath, and visibly drooped Like a flower in the frost. So, in that quiet inn Which looks from Conway on the mountains piled Heavily against the horizon of the north, Like summer thunder-clouds, we made our home And while the mist hung over dripping hills, And the cold wind-driven rain-drops all day long Beat their sad music upon roof and pane, We strove to cheer our gentle invalid.
The lawyer in the pauses of the storm Went angling down the Saco, and, returning, Recounted his adventures and mishaps; Gave us the history of his scaly clients, Mingling with ludicrous yet apt citations Of barbarous law Latin, passages From Izaak Walton's Angler, sweet and fresh As the flower-skirted streams of Staffordshire, Where, under aged trees, the southwest wind Of soft June mornings fanned the thin, white hair Of the sage fisher. And, if truth be told, Our youthful candidate forsook his sermons, His commentaries, articles and creeds, For the fair page of human loveliness, The missal of young hearts, whose sacred text Is music, its illumining, sweet smiles. He sang the songs she loved; and in his low, Deep, earnest voice, recited many a page Of poetry, the holiest, tenderest lines Of the sad bard of Olney, the sweet songs, Simple and beautiful as Truth and Nature, Of him whose whitened locks on Rydal Mount Are lifted yet by morning breezes blowing From the green hills, immortal in his lays. And for myself, obedient to her wish, I searched our landlord's proffered library,-- A well-thumbed Bunyan, with its nice wood pictures Of scaly fiends and angels not unlike them; Watts' unmelodious psalms; Astrology's Last home, a musty pile of almanacs, And an old chronicle of border wars And Indian history. And, as I read A story of the marriage of the Chief Of Saugus to the dusky Weetamoo, Daughter of Passaconaway, who dwelt In the old time upon the Merrimac, Our fair one, in the playful exercise Of her prerogative,--the right divine Of youth and beauty,--bade us versify The legend, and with ready pencil sketched Its plan and outlines, laughingly assigning To each his part, and barring our excuses With absolute will. So, like the cavaliers Whose voices still are heard in the Romance Of silver-tongued Boccaccio, on the banks Of Arno, with soft tales of love beguiling The ear of languid beauty, plague-exiled From stately Florence, we rehearsed our rhymes To their fair auditor, and shared by turns Her kind approval and her playful censure.
The poem opens with a first-person plural narrator describing a journey through the northern country, naming specific locations—Winnepiseogee, the Saco, Agioochook, the Ammonoosuc, the Pemigewasset—and dwelling on sensory details: "the sunset, with its bars of purple cloud," "the perpetual beating of the falls," and "the everlasting moan / Of forests and of far-off waterfalls." This landscape catalog establishes a speaker who has traveled widely and intimately knows the region's geography. The verse form is iambic pentameter, often enjambed, with occasional rhyming couplets. The tone is reverent, almost awestruck, as the travelers pause "silent with wonder" before mountain walls and narrow rifts. This opening does not yet introduce characters or plot; it immerses the reader in a specific, vividly rendered terrain that will serve as the poem's backdrop.
From Journey to Narrative: The Shift in Part 2
After the opening travelogue, Part 2 transitions into a historical note: "Winnepurkit, otherwise called George, Sachem of Saugus, married a daughter of Passaconaway, the great Pennacook chieftain, in 1662." This prose headnote, citing Morton's New Canaan, grounds the poem in documented events. The verse then introduces Weetamoo, the bride, and her emotional state: "Her heart had found a home; and freshly all / Its beautiful affections overgrew / Their rugged prop." The simile comparing her love to vine-leaves spreading over a granite wall suggests both tenderness and a harsh environment. The poem emphasizes the asymmetry of the marriage: Weetamoo offers "welcoming smile and parting kiss," while her husband gives only "the warrior's settled pride" and "vanity's pleased smile." The narrator explicitly states she had learned "the maxims of her race, / Which teach the woman to become a slave." This social critique is embedded in the romantic narrative.
The Etiquette of Escort: A Conflict of Custom
The central conflict arises from a dispute over protocol. When Weetamoo wishes to visit her father, Winnepurkit sends her with "a brave escort of her husband's chief men." But when she wants to return, Passaconaway sends a messenger asking Winnepurkit to fetch her. The husband refuses, insisting that since he escorted her there "in a style that became a chief," her father must return her in the same manner. Passaconaway refuses, and "here terminated the connection of his daughter with the Saugus chief." The poem dramatizes this standoff through a council scene: "Winnepurkit called his chiefs together, / And a grave council in his wigwam met, / Solemn and brief in words, considering whether / The rigid rules of forest etiquette / Permitted Weetamoo once more to look / Upon her father's face." The word "rigid" signals the narrator's view of these customs as inflexible and ultimately destructive.
Weetamoo's Divided Loyalties
The poem gives considerable attention to Weetamoo's inner life. At Pennacook, she is welcomed with joy: "Joy then for Weetamoo, to sit once more / A child upon her father's wigwam floor!" The narrator reflects on the power of childhood landscapes: "The hills are dearest which our childish feet / Have climbed the earliest; and the streams most sweet / Are ever those at which our young lips drank." This universal sentiment is applied specifically to Weetamoo's homesickness. Yet the poem also shows her earlier contentment in her marriage: "Enough for Weetamoo, that she alone / Sat on his mat and slumbered at his side." The tension between her roles as daughter and wife is never resolved in the excerpts; the narrative breaks off before any conclusion. The reader is left with the image of a woman caught between two patriarchies, each adhering to its own code of honor.
Landscape as Emotional Register
Throughout the excerpts, the natural world mirrors Weetamoo's emotional state. In the early married months, "the steep, bleak hills, the melancholy shore, / The long, dead level of the marsh between, / A coloring of unreal beauty wore / Through the soft golden mist of young love seen." The landscape is objectively dreary but transformed by her feelings. Later, when spring arrives, "the sun at last / Broke link by link the frost chain of the rills," and the marsh grows green again—coinciding with the arrival of messengers from Pennacook. The journey back is described as passing through "old woods" and "high breezy hills, and meadow land / Yellow with flowers." Whittier consistently uses specific, named places—Merrimac, Saugus, Pennacook—to anchor the narrative, and the changing seasons and weather provide a rhythmic counterpoint to the human drama.
Because the excerpts end before the story's conclusion, readers should attend to how Whittier balances historical documentation with poetic invention. The headnote provides the outcome, but the poem itself may elaborate or diverge. Notice how the narrator's voice—sometimes omniscient, sometimes sympathetic to Weetamoo—shapes the telling. The repeated emphasis on landscape as both setting and symbol rewards careful attention to place names and natural imagery.
Reading of Weetamoo’s homesickness, I recalled sitting alone with those old verses, feeling that ache of belonging nowhere quite fully. Another afternoon, I found a similar quiet sorrow in the formal elegies of Waller and Denham, whose measured grief somehow made absence gentler. Poetical Works of Edmund Waller and Sir John Denham — Edition Insights left me with that same wistful stillness, as if the past were merely pausing.
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