The Works of John Greenleaf Whittier, Complete — A Closer Reading
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The catalog record for The Works of John Greenleaf Whittier, Complete — A Closer Reading provides practical reading context through 7,290 words, 32 min estimated reading time, and 13 detected text sections.
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CHAPTER I. DR. SINGLETARY IS DEAD!
Well, what of it? All who live die sooner or later; and pray who was Dr. Singletary, that his case should claim particular attention?
Why, in the first place, Dr. Singletary, as a man born to our common inheritance of joy and sorrow, earthly instincts and heavenward aspirations,--our brother in sin and suffering, wisdom and folly, love, and pride, and vanity,--has a claim upon the universal sympathy. Besides, whatever the living man may have been, death has now invested him with its great solemnity. He is with the immortals. For him the dark curtain has been lifted. The weaknesses, the follies, and the repulsive mental and personal idiosyncrasies which may have kept him without the sphere of our respect and sympathy have now fallen off, and he stands radiant with the transfiguration of eternity, God's child, our recognized and acknowledged brother.
Dr. Singletary is dead. He was an old man, and seldom, of latter years, ventured beyond the precincts of his neighborhood. He was a single man, and his departure has broken no circle of family affection. He was little known to the public, and is now little missed. The village newspaper simply appended to its announcement of his decease the customary post mortem compliment, "Greatly respected by all who knew him;" and in the annual catalogue of his alma mater an asterisk has been added to his name, over which perchance some gray-haired survivor of his class may breathe a sigh, as he calls up, the image of the fresh-faced, bright-eyed boy, who, aspiring, hopeful, vigorous, started with him on the journey of life,--a sigh rather for himself than for its unconscious awakener.
But, a few years have passed since he left us; yet already wellnigh all the outward manifestations, landmarks, and memorials of the living man have passed away or been removed. His house, with its broad, mossy roof sloping down on one side almost to the rose-bushes and lilacs, and with its comfortable little porch in front, where he used to sit of a pleasant summer afternoon, has passed into new hands, and has been sadly disfigured by a glaring coat of white paint; and in the place of the good Doctor's name, hardly legible on the corner-board, may now be seen, in staring letters of black and gold, "VALENTINE ORSON STUBBS, M. D., Indian doctor and dealer in roots and herbs." The good Doctor's old horse, as well known as its owner to every man, woman, and child in the village, has fallen into the new comer's hands, who (being prepared to make the most of him, from the fact that he commenced the practice of the healing art in the stable, rising from thence to the parlor) has rubbed him into comparative sleekness, cleaned his mane and tail of the accumulated burrs of many autumns, and made quite a gay nag of him. The wagon, too, in which at least two generations of boys and girls have ridden in noisy hilarity whenever they encountered it on their way to school, has been so smartly painted and varnished, that if its former owner could look down from the hill-slope where he lies, he would scarcely know his once familiar vehicle as it whirls glittering along the main road to the village. For the rest, all things go on as usual; the miller grinds, the blacksmith strikes and blows, the cobbler and tailor stitch and mend, old men sit in the autumn sun, old gossips stir tea and scandal, revival meetings alternate with apple-bees and bushings,--toil, pleasure, family jars, petty neighborhood quarrels, courtship, and marriage,--all which make up the daily life of a country village continue as before. The little chasm which his death has made in the hearts of the people where he lived and labored seems nearly closed up. There is only one more grave in the burying-ground,--that is all.
Let nobody infer from what I have said that the good man died unlamented; for, indeed, it was a sad day with his neighbors when the news, long expected, ran at last from house to house and from workshop to workshop, "Dr. Singletary is dead!"
The index to this complete edition reveals a poet deeply engaged with his own legacy. The publishers' advertisement notes that Whittier personally re-arranged and revised his works, supplying head-notes on the subject and occasion of certain poems. This editorial involvement suggests a careful curation of voice and tone across the seven volumes. The index itself, with its dense lists of titles, offers a map of Whittier's shifting concerns—from narrative and legendary poems to anti-slavery works, personal poems, and historical papers. The sheer variety hints at changes in pace and subject matter, though the excerpts provide only the skeleton of the collection.
The Poet as Editor
The publishers' advertisement emphasizes that Whittier himself re-arranged and revised the contents, with his cooperation ensuring a “comprehensive and well-adjusted” collection. This is not a posthumous compilation but a living author's attempt to shape his own literary record. The inclusion of early poems, previously discarded, in an appendix suggests a desire for completeness and a willingness to let readers trace his development. The head-notes, described as brief, add a layer of personal commentary that may alter the reading experience—offering context that can slow or redirect the pace of engagement. Without access to these notes, one can only speculate on how they modulate the voice, but their presence signals a deliberate authorial hand.
Pacing Through the Index
The detailed contents list, spanning multiple volumes, creates a rhythm of its own. Volume I opens with “Narrative and Legendary Poems,” suggesting a slower, story-driven pace, while Volume II shifts to “Poems of Nature” and “Religious Poems,” which may invite more meditative reading. Volume III's “Anti-Slavery Poems” and “Songs of Labor and Reform” likely quicken the tempo with urgent, political language. The index entries themselves vary in length—some titles are single words (“Ego,” “Help”), others are phrases (“The Female Martyr,” “Funeral Tree of the Sokokis”). This variation mirrors the poet's own shifts between concise epigrams and extended narratives. The alphabetical listing of poems in the latter part of the excerpt further fragments the reading experience, juxtaposing disparate themes in quick succession.
Voice Across Genres
Whittier's voice, as hinted by the titles, adapts to genre. The narrative poems often carry place names (Pentucket, The Norsemen) and legendary figures, suggesting a formal, almost bardic tone. In contrast, the anti-slavery poems (“Hunters of Men,” “Massachusetts to Virginia”) likely adopt a more direct, polemical voice. The personal poems (“My Birthday,” “In School-Days”) may shift to a quieter, reflective register. The index also includes prose works—Margaret Smith's Journal and historical papers—which would introduce yet another narrative mode. This generic range implies that the reader's experience of pace and voice will vary significantly from volume to volume, and even within a single volume, as Whittier moves between lyrical, narrative, and argumentative modes.
Readers approaching this complete edition should be prepared for a varied journey. The index serves as a useful guide, allowing one to select poems or prose pieces according to mood or interest. Pay attention to the head-notes, which may offer clues to Whittier's own perspective on his work. The collection rewards those who dip in and out, sampling different voices and paces, rather than reading straight through.
I’ve often lingered over the index of Whittier’s Works, tracing his careful revisions like an old friend’s faded marginalia. There is a quiet kinship in that patient attention to phrasing, the same solemn care I find in Beechenbrook A Rhyme of the War — A Reader’s Guide, where every measured line seems to hold its breath, remembering. Both whisper of words chosen in sorrow, not haste.
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