Concord, and there he has, even now, the reputation of having been a model
farmer. He was an extremely modest man, very little forthputting, gentle
in manner, and most neighborly in spirit. He wrote many papers for the
Concord Farmers' Club, and some of these were printed in the _Boston
Commonwealth_. In that paper, when Mr. Frank B. Sanborn was the editor, he
published a series of articles on country life, which were delightful to
read. He was a fine writer, and what he wrote showed the grace and charm
of the man. He gave much attention to botany, knew all the plants and
flowers in Concord, and knew them both as a scientist and poet.
For several years Pratt was in the habit of gathering on the lawn in front
of his house, under a large elm-tree, a picnic of such of his Brook Farm
associates as he could bring together. Emerson, Phillips, Thoreau, Curtis,
George Bradford, and others of note, often attended. The gathering was a
delightful one, and it was made an occasion of happy reminiscences and a
renewal of old personal ties and affections.
Some of the reminiscences of Brook Farm mention that Curtis walked in the
moonlight with Caroline Sturgis, who, over the signature of "Z,"
contributed a number of poems to _The Dial_. She was an intimate friend of
Margaret Fuller, and she afterwards published "Rainbows for Children,"
"The Magician's Show-box," and other children's books. She married William
A. Tappan, who rented to Hawthorne the cottage in which he lived at Lenox.
Mrs. Lathrop's book about her mother contains many reminiscences of them.
She was a daughter of William Sturgis, a wealthy Boston merchant. A
sister, Mrs. Ellen H. Hooper, was also a contributor to _The Dial_, in
which appeared her poem beginning with the line:
"I slept and dreamed that life was beauty."
Another well-known poem was written by her:
"She stood outside the gate of heaven and saw them entering in."
Colonel Higginson speaks of her as "a woman of genius," and Margaret
Fuller wrote of her from Rome: "I have seen in Europe no woman more gifted
by nature than she."
Under date of October 25, 1845, Curtis mentions a religious meeting which
had been recently held at Brook Farm. This was a reference to one of the
many occasions on which William Henry Channing conducted religious
services there, for he was listened to with greater satisfaction than any
one else who spoke on religious subjects. When the weather was suitable he
preached in the grove near the Margaret Fuller cottage (so called); and on
the present occasion he asked those present to join hands and to repeat
with him a bond of union or confession of faith, and constitute themselves
into a church. Before this time no religious organization had existed at
Brook Farm, the utmost liberty of opinion being cultivated there. In fact,
the leaders of the movement had been strongly opposed to any religious
formalism or organized effort at religious instruction. The freedom of
belief was such that Freethinkers on the one side, and devout Catholics on
the other, were welcomed with equal cordiality. The majority of the
members were undoubtedly of the "liberal" school in theology, and found in
the preaching of Theodore Parker the kind of spiritual instruction they
desired. At one time there was an enthusiastic interest in the teachings
of Swedenborg.
It was the tendency towards what was at once practical and mystical which
drew the large majority of the Farmers to the preaching of William Henry
Channing, who was one of the most gifted preachers which America has
produced. He was imaginative, mystical, and eloquent, liberal in his
thinking, progressive in his social ideals, and profoundly religious. He
was thoroughly in sympathy with the Associationist movement, and more than
any other man he was the spiritual leader and confessor of those who found
in that movement a practical realization of their religious convictions.
The organization which began on that Sunday afternoon in October, 1845,
continued to exist at Brook Farm until January, 1847, when "The Religious
Union of Associationists" was organized in Boston, with Channing as the
minister. For a few years it was successful, and it gave union and purpose
to the Associationist movement in Boston and the vicinity. A considerable
number of the members of Brook Farm were connected with it actively--as
officers, members of the choir, or regular attendants.
The organization effected in the pine woods in so informal a manner was
quite in harmony with the Brook Farm spirit and methods. Formalism of
every kind was dreaded, but yet there was a deeply religious interest
pervading the whole life of the community. At all the meetings held by the
Farmers, even at little social gatherings, the conversation was likely to
run on high themes. While there was present the utmost freedom of opinion
and expression, and while there was the greatest effort to avoid cant and
conventional phraseology, yet there was in the community a very strong
religious feeling; and nearly all the members held serious and earnest
convictions, to which they were unusually faithful in their daily living.
III
The relations of Curtis to his teachers at Brook Farm were cordial and
appreciative, but they were especially so with John S. Dwight, with whom
he studied music. When he left the farm, an intimate and confidential
correspondence began between them, and this continued until Curtis went to
Europe. After he returned it was resumed, but the interchange of letters
was not so frequent. They continued to write to each other almost to the
end of Dwight's life, however, and their friendship was always sympathetic
and confidential. The letters of Dwight have not been preserved, with two
or three exceptions, but those of Curtis still exist in unbroken
succession, and are presented to the public in this volume. In these days,
when we complain of the decay of letter-writing, they afford a remarkably
good specimen of youthful effort in that kind of literature.
To Dwight there were sent by Curtis several poems, which were printed in
the _Harbinger_, and he also sent two letters from New York on musical
topics. Two of his letters to Dwight from Europe were also printed in the
_Harbinger_. After he was settled in New York, Curtis did his part in an
effort to get Dwight established in that city. When Dwight began his
_Journal of Music_, Curtis wrote for it frequently over the signature of
"Hafiz." It is safe to say that these contributions were not paid for, but
were the result of a desire to aid his friend in his musical enterprise.
They were of the nature of passing comments on the musical performances of
the day, but they were worthy of the pages in which they appeared.
John Sullivan Dwight was born in Court Street, Boston, May 13, 1813, the
son of Dr. John Dwight and his wife Mary. He was educated at the Derne
Street Grammar School and the Boston Latin School, from which he entered
Harvard College. As a boy he was a devoted reader of books, studious in
his habits, but little inclined to active or practical pursuits. When
about fifteen, he began to take an interest in music, and from his father
he received the best instruction in that art.
Young Dwight entered Harvard in 1829, and he carried through the studies
of the course with a fair degree of success. He gave much attention to
music, joined the Pierian Sodality, and was an earnest reader of the best
poetry. He gave the class poem on his graduation, in 1832. During his
Senior year he taught at Northborough, and following his graduation he
spent a year as a tutor in a family at Meadville, Pennsylvania. In the
autumn of 1834 he entered the theological school at Harvard, and graduated
therefrom in August, 1836, his dissertation being on "The Proper Character
of Poetry and Music for Public Worship," which was published in the
_Christian Examiner_ for that year.
Dwight's interest in music led him to take a leading part in bringing
together, in 1837, those recent graduates of the college who were of like
mind with himself; and a society was organized for the purpose of
promoting its study. In 1840 the name was changed to that of the "Harvard
Musical Association"; in 1845 it was incorporated, and in 1848 the place
of meeting was transferred to Boston.
It was three years and a half after Dwight left the theological school
before he had secured a pulpit. He preached nearly every Sunday, but he
had become a member of the Transcendental Club, he was in sympathy with
Emerson and Parker, and the churches did not find his preaching
acceptable. He wrote several papers for the _Christian Examiner_, and
reviewed a number of books in the same periodical. The first review of
Tennyson published in this country he gave to the public in that journal.
In 1838 he published in the series of translations edited by George
Ripley, under the general title of "Specimens of Foreign Standard
Literature," a volume of "Select Minor Poems, Translated from the German
of Goethe and Schiller, with Notes." Several of Dwight's friends aided him
in this translation, especially on the poems of Schiller; but the valuable
notes appended were furnished by himself. The volume was dedicated to
Carlyle, who wrote a characteristic letter in giving his permission, and a
still more interesting one in acknowledging the receipt of the book.
In May, 1840, Dwight became the minister of the little Unitarian parish at
Northampton, and the ordination sermon was preached by George Ripley, the
address to the minister being given by Dr. W.E. Channing. From the first
the people were not fully agreed as to Dwight's preaching, and the
objections gradually increased as his strong Transcendental habits of
thought began to be more clearly manifest. A few persons of thoughtful and
more distinctly spiritual cast of mind were warmly drawn to him, but the
majority grew more and more opposed to him, and he withdrew from the
parish after a year and a half. During his stay in Northampton he wrote
for _The Dial_, for one or two musical journals, planned several extended
literary undertakings, and gave lectures before the American Institute of
Instruction and the Harvard Musical Association. In _The Dial_ was
published one of his sermons, under the title of "Religion of Beauty," and
another called "Ideals of Every-day Life." At the end of that on the
religion of beauty was printed a poem of Dwight's, which has been often
credited to Goethe, and is usually given the title of
"REST
Sweet is the pleasure,
Itself cannot spoil!
Is not true leisure
One with true toil?
Thou that wouldst taste it,
Still do thy best;
Use it, not waste it,
Else 'tis no rest.
Wouldst behold beauty
Near thee, all round?
Only hath duty
Such a sight found.
Rest is not quitting
The busy career;
Rest is the fitting
Of self to its sphere.
'Tis the brook's motion,
Clear without strife,
Fleeing to ocean
After its life.
Deeper devotion
Nowhere hath knelt;
Fuller emotion
Heart never felt.
'Tis loving and serving
The Highest and Best!
'Tis onwards! unswerving,
And that is true rest."
As an intimate friend of George Ripley, Dwight had discussed with him the
project of a community at Brook Farm; and it was natural that he should
find his place there in November, 1841. Many years later Dwight said of
the purposes of Ripley, in this effort to improve upon the usual forms of
social life: "His aspiration was to bring about a truer state of society,
one in which human beings should stand in frank relations of true equality
and fraternity, mutually helpful, respecting each other's occupation, and
making one the helper of the other. The prime idea was an organization of
industry in such a way that the most refined and educated should show
themselves practically on a level with those whose whole education had
been hard labor. Therefore, the scholars and the cultivated would take
their part also in the manual labor, working on the farm or cultivating
nurseries of young trees, or they would even engage in the housework."
In the Brook Farm community, Dwight was one of the leaders, his place
being next after Ripley and Dana. In the school he was the instructor in
Latin and music. His love for music began to make itself strongly manifest
at this time; he brought out all the musical talent which could be
developed among the members of the community. Of this phase he said: "The
social education was extremely pleasant. For instance, in the matter of
music we had extremely limited means or talent, and very little could be
done except in a very rudimentary, tentative, and experimental way. We had
a singing-class, and we had some who could sing a song gracefully and
accompany themselves at the piano. We had some piano music; and, so far as
it was possible, care was taken that it should be good--sonatas of
Beethoven and Mozart, and music of that order. We sang masses of Haydn and
others, and no doubt music of a better quality than prevailed in most
society at that date, but that would be counted nothing now. Occasionally
we had artists come to visit us. We had delightful readings; and, once in
a while, when William Henry Channing was in the neighborhood, he would
preach us a sermon."
At this time a musical awakening was taking place in Boston, a genuine
taste for and appreciation of Beethoven, Mozart, and Haydn was being
developed. Dwight was instrumental in promoting a love for these masters,
and out of his classes for their study grew what were called "Mass Clubs."
He and his pupils often went into Boston to hear the best music, walking
both ways. In _The Dial_, and especially in the _Harbinger_, Dwight wrote
with enthusiasm and poetic charm of the merits of classical music. He
wrote afterwards that the treatment of music in these periodicals told the
time of day far ahead; and "such discussion did at least contribute much
to make music more respected, to lift it in the esteem of thoughtful
persons to a level with the rest of the humanities of culture, and
especially to turn attention to the nobler compositions, and away from
that which is but idle, sensual, and vulgar."
To the _Christian Examiner_, _Boston Miscellany_, _Lowell's Pioneer_, and
the _Democratic Review_, Dwight was an occasional contributor at this
period. His chief literary work, however, was in the form of lectures on
musical subjects, especially on the great composers already named. He gave
a successful course of musical lectures in New York, and he lectured in a
number of other cities.
To the _Harbinger_, which was the organ of Brook Farm after the Fourierite
period began, as well as the best advocate of associated life ever
published in the country, Dwight was one of the chief contributors. He
wrote much in behalf of association, but he also discussed literary
topics. His chief contributions were on the subject of music, which was
then, as always, so near his heart. He conducted the department devoted to
musical criticism and interpretation. During the last year of the
publication of the paper at Brook Farm he was associated with Ripley in
the editorial management.
In 1847 Brook Farm came to an end. The _Harbinger_ was removed to New
York, and Ripley was its editor; but it was discontinued in less than two
years. Dwight was the Boston correspondent, and continued his editorial
connection with the paper. He removed to Boston, continued his interest in
association, was an active member of W.H. Channing's "Religious Union of
Associationists," was one of the most zealous workers in the organization
for promoting associated life, and began to write for the _Daily
Chronotype_ on musical subjects. In 1849 he edited a department in the
_Chronotype_ devoted to the interests of association, and he had the
assistance of Channing, Brisbane, Dana, and Cranch. This arrangement was
continued for only a few months, not proving a success. In 1851 he was for
six months the musical editor of the _Boston Commonwealth_, he wrote for
_Sartain's Magazine_ and other periodicals on musical topics, and he
continued to lecture. Ripley and Dana made an earnest effort to secure him
a place on one of the daily journals in New York. In February, 1851,
Dwight and Mary Bullard, who had been a frequent visitor at Brook Farm,
and a member of the choir at Channing's church in Boston, of which Dwight
was the musical leader, were married. She was a beautiful and attractive
woman, of some musical talent, and of a most unselfish and winning
character. They went to live in Charles Street, and there had Dr. O.W.
Holmes and his wife for near neighbors.
In April, 1852, Dwight issued the first number of _Dwight's Journal of
Music_. He was able to do this with the aid of several of his
associationist and musical friends, who generously contributed to a
guarantee fund for the purpose. The Harvard Musical Association lent its
aid to the project, and made it financially possible. In the first number
Dwight said of his purposes and plans:
"Our motive for publishing a musical journal lies in the fact that music
has made such rapid progress here within the last fifteen, and even the
last ten, years. Boston has been without such a paper, and Boston has
thousands of young people who go regularly to hear all the good
performances of the best classic models in this art. Its rudiments are
taught in all our schools....
"All this requires an organ, a regular bulletin of progress; something to
represent the movement, and at the same time help to guide it to the true
end. Very confused, crude, heterogeneous is this sudden musical activity
in a young, utilitarian people. A thousand specious fashions too
successfully dispute the place of true art in the favor of each little
public. It needs a faithful, severe, friendly voice to point out
steadfastly the models of the true, the ever beautiful, the divine.
"We dare not promise to be all this; but what we promise is, at least, an
honest report, week by week, of what we hear and feel and in our poor way
understand of this great world of music, together with what we receive
through the ears and feeling and understanding of others, whom we trust;
with every side-light from the other arts."
What was thus promised was carried out successfully, so far as the spirit
and purpose were concerned, for more than thirty years. At first the
_Journal of Music_ was an eight-page weekly, of about the size of
_Harper's Weekly_. After a time it was issued fortnightly, and the number
of pages was increased. Though small the _Journal of Music_ was varied in
contents, and published much that was of great value. The selections from
English, French, and German musical publications were well adapted to give
music a higher position in American society. Many works of great value
were translated for its pages; and whatever new or of importance was
taking place or being said in the musical world was faithfully reported.
The circulation was small at the best, for the high quality of the paper,
and the refusal of the editor to make it an organ of the interests of
publishers did not help to bring it widely before the public. Dwight would
make no compromises with what was sensational or merely popular.
At the beginning of 1859 the _Journal of Music_ was put into the hands of
Oliver Ditson & Co., who undertook its publication, paying Dwight a stated
salary for his labors upon it. This arrangement relieved him of much
drudgery as publisher, which he had hitherto undertaken. The conduct of
the paper did not essentially change, but with each number was added a
musical composition; the best works of Mendelssohn, Schubert, Wagner,
Gluck, Mozart, and many other composers were thus issued. Dwight also did
much translating for Ditson, turning into English the words which
accompanied some of the best German music.
In July, 1860, Dwight went to Europe for purposes of travel and study.
Shortly after his departure his wife was taken ill, and died in a few
weeks. The blow nearly crushed him, and it took many months for him to
recover himself. In a most sympathetic letter Dr. Holmes told him of the
illness, and the scenes which followed:
"I listened to the sweet music which was sung over her as she lay, covered
with flowers, in the pleasant parlor of her house, by the voices of those
that loved her--I and my wife with me--and then we followed her to Mount
Auburn, and saw her laid in the earth, and the blossoms showered down upon
her with such tokens of affection and sorrow that the rough men, whose
business makes them callous to common impressions, were moved as none of
us ever saw them moved before. Our good James Clarke, as you know,
conducted the simple service. It was one which none of us who were present
will ever forget; and in every heart there was one feeling over all
others, that for the far-distant husband, brother, friend, as yet
unconscious of the bereavement he was too soon to learn."
Dwight spent a few days in England, was for a fortnight in Paris, went
through Switzerland, and then on to Germany. He went to Frankfort, then to
Bonn, where he was for some weeks. In Berlin some months were passed, and
visits were made to Leipzig, Dresden, Munich, and other cities. He gave
much attention to music, taking every opportunity of making himself better
acquainted with its traditions and spirit. He then went to Italy, passed
on to France, and reached England in July, 1861. Early in September he
sailed on the trial trip of the _Great Eastern_, which encountered a
fearful storm, and was nearly wrecked. Dwight landed on the Irish coast,
made his way back to London, thought of remaining another year in Europe,
but finally returned home in November.
In Dwight's absence the _Journal_ had been conducted by Henry Ware, a
young musical friend. He now established himself in the Studio Building on
Tremont Street, and went on with his tasks as usual. He became an active
member of the Saturday Club, and was a constant attendant. He helped to
organize, in 1863, the Jubilee Concert, at which Emerson read his "Boston
Hymn." On the other hand, he severely criticised Gilmore's National Peace
Jubilee of 1869.
In 1878 the desire of the Ditson publishing house to make the _Journal of
Music_ more popular in its character, and more directly helpful to their
business interests, led Dwight to transfer its management to the firm of
Houghton, Osgood & Co. It was better printed, the list of contributors was
enlarged, and in many ways the paper was improved. A number of Dwight's
friends promised to stand behind it for a year or two with definite sums
of money, that it might be improved, and an effort made to reach a larger
public. From some cause, not easy to understand, the response on the part
of the public was not large enough to warrant the additional outlay; the
list of paid contributors had to be abandoned, and the paper returned
gradually to its old ways. In December, 1880, Dwight's friends joined with
the musicians of Boston in giving a testimonial concert for the benefit of
the paper, which yielded the sum of $6000. In an editorial Dwight said of
this expression of interest in his work: "Greetings and warmest signs of
recognition, kindliest notes of sympathy (often from most unexpected
quarters), prompt, enthusiastic offers of musical service in any concert
that might be arranged, poured in upon the editor, who, all at once, found
himself the object of unusual attention. Hand and heart were offered
wherever he met an old acquaintance; everybody seemed full of the bright
idea that had struck somebody just in the nick of time. We never knew we
had so many friends."