My Friends at Brook Farm Part 3

Father always remembered that sermon, and referred to it many times in later years. What I remember about it is that it awoke a new sense in my dull mind of what practical Christianity really is. I realized that I had been a selfish, stupid cub; trying my worst to make the worst of everything, while every one else was trying their best to make the best of everything. That was a good ending of what had been a threatening phase of my first experience at Brook Farm.

CHAPTER VI

ENTERTAINMENTS

Our slide down the Knoll proved very popular, and, with occasional repairs, lasted all winter, making a welcome addition to our outdoor diversions during the season when these were necessarily limited. Living in the open was one of the salutary customs of the community, a custom faithfully followed even in comparatively bad weather. Rain or s.h.i.+ne, snow or blow, save only in real storms, every one spent a good many of the twenty-four hours under the broad skies. There was always some work to be done, cutting wood, digging peat--the main reliance for fuel--mending stone walls, and attending to the tree-nurseries. Then for fun, there was coasting, skating, sleigh-riding and taking long tramps over the place or to some distant point of interest. Exposure to the elements seemed to harm no one, and coughs, influenzas and rheumatics were unknown.

Withal, however, indoor pleasures took the most prominent place, during the winter months. After the reorganization of the a.s.sociation as a Phalanx, Mr. John Dwight was the Chief of the Festal Series, and as he was, first of all, a musician, it followed that music formed the princ.i.p.al feature of our entertainments. Vocal and instrumental music was thoroughly taught in the school, and, as nearly all the members of the community were music lovers, and many were singers and players, the place was melodious from morning until night. There was always some new song or perhaps some very old one to be tried, some local composition to be heard, or some preparation for future musical events to enlist attention. Selections from the operas then known and now forgotten, were given in the dining room; parts, with all the characters and choruses, from "Zampa," "Norma" and the "Caliph of Bagdad" recur to my mind. Two public concerts were given to pay for a new piano, and as the proceeds did not quite fill the bill, we all gave up b.u.t.ter, selling the entire product of the dairy for three months to make up the deficit. That was just like Brook Farm. The most ambitious performance in my time was the rendition of the Oratorio of Saint Paul, which was given twice by request, but this was in the summer when we had ample room and verge enough in the pine-grove amphitheater.

We had another theater, a very little one, please, where light plays, tableaux, readings and recitations and similar entertainments were offered by the Dramatic Group during the winter. One member of this group, Mr. John Glover Drew, was ambitious, and urged the presentation of something more serious and edifying than merely amusing trifles, and, accordingly, an excursion was made into the realm of the melodrama.

Glover, as he was called, was intensely Byronic, after the fas.h.i.+on of the times, and he prepared a succession of thrilling scenes from Byron's sensational poem, "The Corsair," for presentation by his fellow players.

This melodramatic production was staged with all the pasteboard pomp and secondhand circ.u.mstance the little workshop theater could afford and was given with all the fire the high-toned author could impart to his company. The result was disastrous.

Glover was a very genial, jolly young man, a fellow of infinite jest, and always full of fun, but his play was distinctly dismal. The spirit of Brook Farm being as distinctly joyous, the melancholy drama went against the grain, and the performance fell dolefully flat. It was the one failure among the many successful entertainments offered by the Festal series, and the members of the cast including the author, were greatly depressed when the curtain went down with the auditorium already nearly empty. Glover undoubtedly had his bad quarter-of-an-hour that night, but the next morning he regained his usual equipoise, and cast off his chagrin with a characteristic gibe, at his own expense. A sympathetic friend ventured to ask if the fiasco was caused, perhaps, by too much blood and thunder in the piece.

"Not blood and thunder, but thud and blunder," was Glover's quick come-back.

We had two or three other plays in the shop, that season, in one of which my father took a small part. This was "The Rent Day," by Douglas Jerrold, I think. The play opens with a tableau reproducing Wilkies'

picture of "The Rent Day," and the most important thing my father had to do was to sit at the head of the table in the character of Master Crumbs, the steward. Peter Baldwin, who succeeded Mr. Hecker as baker-general--being therefore given the t.i.tle of General--usually did the first old man business, but as he was suddenly called to Boston, my father, who happened to be visiting us at the moment, was asked to fill the role of Master Crumbs, which he consented to do, on short notice.

There never was such a thing as a theater in the Old Colonie and I can imagine the disturbed feelings of the good Dutch burghers could they have known that their respected fellow citizen, Charles Sears, Esq., of the pier, was actually appearing on the stage as a play actor.

One play was given by the boys and girls, or rather by two boys and one girl, Dolly Hosmer, Craze Barlow and myself. We did Box and c.o.x, a short farce, produced to piece out a vaudeville program.

The first hour of our winter evenings at the Hive was, by common consent, a.s.signed to the younger generation, and story-telling was regularly made its most attractive feature. Mr. Dana was one of our best story tellers, and his narrations were instructive as well as interesting. In an extended series he gave us accounts, partly imaginary, of the beginnings of things, of the discovery and the first use of iron, the evolutions of the boat, of primitive pottery, of gla.s.s, etc.

I was never in Mr. Dana's cla.s.ses, Greek and German being beyond my reach, but I saw something of him in the tree-nursery and the orchard where I worked under him, he being Chief of the Orchard Group. I cannot do better in trying to give an idea of him at Brook Farm than to quote from Mr. John Thomas Codman's Memoirs, as follows:

"Charles Anderson Dana, when, from Harvard College he presented himself at the farm, was a young man of education, culture and marked ability.

He was strong of purpose and lithe of frame and it was not long before Mr. Ripley found it out and gave him a place at the front. He was about four and twenty years of age, and he took to books, language and literature. Social, good-natured and animated, he readily pleased all with whom he came in contact. He was above the medium height, his complexion was light and his beard, which he wore full but well trimmed, was vigorous and of auburn hue, and his thick head of hair was well cut to moderate shortness. His features were quite regular, his forehead high and full, and his head large. His face was pleasant and animated and he had a genial smile and greeting for all. His voice was clear and musical and his language remarkably correct. He loved to spend a portion of his time in work on the farm and in the tree nursery, and you might be sure of finding him there when not otherwise occupied. Enjoying fun and social life, there was always a dignity remaining which gave him influence and commanded respect."

Later in life, as all the world knows, Mr. Dana attained high rank among the great editors of this country, and that at a period when personality counted for much more in the conduct of a newspaper than it does to-day.

He served this nation during the Rebellion as a.s.sistant Secretary of War, and was one of the counselors implicitly trusted by President Lincoln in that trying time.

Charles Hosmer was another first cla.s.s raconteur, his musical delivery in reciting apt bits of poetry and other quotations adding to the pleasure of hearing his accounts rendered. He gave us modern versions of the Greek myths and hero legends, of Cadmus and Thebes, of Jason and the Golden Fleece, of the Trojan epic, of the Delphic Oracle, etc.

Several years after leaving Brook Farm I was presented with a copy of Nathaniel Hawthorne's "Wonder Book," and was surprised and indignant to find the author had actually taken our Brook Farm stories, told us by Charles Hosmer and printed them, and that, too, without a word of credit. Of course familiar renditions of the Greek legends have been common property with English speaking people, for ages, but the ignorant youngster who heard them at Brook Farm firmly believed the copyright belonged to Charles Hosmer.

The young folk and children were not only told stories but were encouraged to exercise their own talents in the same direction. Manuel Portales gave an interesting account of native life in Luzon; and Angus Cameron told us about the French habitants and their narrow little strips of farms fronting on the Canadian streams, every farmer wanting a littoral right, if only a few yards wide.

Our evening talks were often monologues, anyone with a word to say having attentive hearers, if interesting, otherwise--not. A young lady, distinguished as a public speaker, came to us with what was doubtless an eloquent discourse on Woman's Rights, and was much put out, after orating awhile, to note that her glowing periods were falling on dull ears. Our women-folk had all the rights of our men-folk. They had an equal voice in our public affairs, voted for our officers, filled responsible positions, and stood on exactly the same footing as their brethren. If women were not so well off in the outer-world, they had only to join our community or to form others like ours.

A leading temperance advocate undertook to lecture us on the terrible evils of rum drinking and the crying need of promoting the great cause of total abstinence. We were all total abstainers. There was not a drop of rum on the Farm. In the exhilarating life of our community there was no call for stimulants. We had none and wanted none. Rum was a curse in civilized society but that was because society was disorganized. Let reformers come and help us reform society and this evil with many others would be remedied. So it was that the popular lecturer after an hour's earnest discourse came to the conclusion that these Brook Farmers were very impolite indeed as they were all talking together about plans for the new Phalanstery or some other equally important subject.

Lectures were not on the list of our favorite pastimes. This indifference to the attractions of the Lyceum was all the more noticeable as there were several lecturers of repute among our own members. In the decade 1840-1850 a wave of interest in what was then known as Social Reform swept over Europe and America, and in the public discussions of the time the teachings of Brook Farm practical reformers were in constant demand. Dr. Ripley, John Dwight, John Allen, Ephraim Chapin, Charles A. Dana and others were called out on lecturing tours extending all over the Northern states, and, as most of this service was gratuitous, the cost to the community was a heavy tax on our limited resources. The socialistic propaganda was an educational movement of unquestionable value, and, while the immediate objects contemplated were never realized and are now lost to sight, yet the agitation had a permanent influence in awakening intelligence, giving an impetus to thought and enlarging the liberality of the public mind.

Oftentimes the long dining room was promptly cleared after supper for some minor entertainment, a dance, in which everyone took part, being always in order when nothing else demanded more immediate attention.

Miss Russell was a most efficient teacher of dancing and we all took lessons, from the gaunt and grizzled old General to the little ones just able to learn their steps. It was a marked characteristic of the Farmers that they all joined hands in whatever was going on. With unfailing unanimity they all moved together, flocking like birds in whatever direction happened to be taken at the moment, even those of the most p.r.o.nounced individuality preferring to go the way of the others rather than go his own way alone. The lovers of solitude, self centered folk, egoists and searchers into the mysteries of their own souls--Emerson, Hawthorne, Hecker and Margaret Fuller were out of place in this united a.s.sociation where each person wanted, first of all, to be in harmony with the common mind.

The dance was so much a matter of course that no preparations were needed save the putting away of the tables and benches. The music was always ready, a dozen or more players of the violin and piano relieving each other in rendering sets of cotillons, waltzes and polkas, the latter dance being then just in fas.h.i.+on.

Next to the dance, some form of musical diversion was in favor. After the reorganization Mr. Dwight was Chief of the Festal Series, and as he and his fiancee, Mary Bullard, were, in a way, professionals there was always a musical programe in reserve that could be brought forward at a moment's notice. We often had musicians of distinction visiting the place, and these gave us of their best, knowing their virtuosity would be recognized and appreciated. Carlo Ba.s.sini, an eminent violinist, played for us with great acceptance. His daughter, Frances Ostinelli, who boarded at the Farm several weeks, sang most delightfully. She had a glorious voice and, as Madame Biscacianti, subsequently attained fame as a cantatrice.

The Hutchinson Family, once widely known at home and abroad, but now pretty much forgotten, made a one-night-stand with us; and a company of Swiss Bell Ringers also favored us in the same way.

The star artist who pleased us youngsters more than any other was Christopher P. Cranch. He was not a professional, at that time, having just completed his course of study for the ministry, but he was certainly a most successful entertainer. There was nothing he could not do. He was a painter of more than fair ability, a sweet singer, a poet, a mighty good story-teller--and we knew a good story-teller when we heard one--and he could play on any instrument from an organ to a jewsharp. Whatever he undertook he did well, and his range of accomplishment was amazing. As Miss Russell remarked his versatility amounted to universatility. We liked and admired Mr. Cranch very much, and with all his superficial levity he possessed sterling qualities that commanded our respect. As an old school song says:

"True winter joys are many With many a dear delight We frolic in the snowdrift, And then the Winter night."

The many winter joys were all that such joys could be, and young folk, not afraid of the weather, made the most of them. The winter nights at the Hive were fairly filled with dear delights, and the youngest of the young folk had their due share of the evening pleasures until nine o'clock when they went to bed, except on special occasions like the giving of a play, or a concert with some celebrity from Boston as a star attraction. The winter had its pleasures, but it was summer that was the real joyous season. There was a dear delight then, in just living in the open air, as most of us did the greater part of every day. Work in the fields with interesting companions, was an exemplification of the socialistic doctrine of attractive industry. Men and women, boys and girls, drawn together in groups by special likings for the work to be done, made labor not only light but really pleasant.

Our entertainments, too, were in these happy days almost exclusively free from the limitations of four walls and a ceiling. Rambles in the woods and fields, excursions to Chestnut Hill or Cow Island, rowing parties on Charles River, ball-games, athletic contests, swimming matches, everything the Greeks ever did and more than they ever thought of. Even our meals conveniently simple as they were, frequently took the form of impromptu picnics on the Knoll.

The center of summer festivities was a natural amphitheater in the beautiful pine-woods. Here was a little hollow, clear of trees which served admirably well as an auditorium, and a bank at one end, leveled down with very little artifice, made a s.p.a.cious stage, or, if required, a suitable rostrum. Here we had plays worth seeing and concerts worth hearing. Here, too, Sunday services were sometimes held, to the scandalizing of our Puritan neighbors, though when Dr. Channing preached a saintly sermon and Mr. Dwight's quartet rendered the Gregorian chants, the service was an appropriate and impressive expression of sincere religious sentiment.

Some of our Puritan neighbors called us heretics because we did not believe in infant d.a.m.nation or some equally profitable and comforting doctrine of the orthodox faith, and, furthermore, we actually sang hymns in Latin. All that was very bad to be sure, but then we kept the commandments, eleven of them, ten in the old testament and one in the new, and we dealt fairly with all men. We went to church too, either having Sunday services at home or attending Theodore Parker's church in Brookline. However, both Theodore Parker and Dr. Ripley were Unitarians, so that did not help us very much in the opinion of our critics.

It may almost be said that Brook Farm was as much an outgrowth of Unitarianism as of Transcendentalism. Nearly all the first members were Unitarians and many of the later comers were of the same faith. The congregation of the Unitarian church at Brookline usually contained a considerable percentage of Brook Farmers, and at times a Unitarian minister from the Farm officiated in that sacred edifice. Rev. Dr.

Ripley, Rev. John S. Dwight, Rev. George P. Bradford, Rev. Warren Burton, Rev. John Allen and Rev. Ephraim Chapin were resident ministers, and Rev. Ralph Waldo Emerson, Rev. William H. Channing and Rev. James Freeman Clarke were warmly interested in the a.s.sociation. Charles K.

Newcomb and Christopher P. Cranch also immediate friends, were educated for the Unitarian ministry. Dr. Codman in his "Recollections" speaks of seeing five Unitarian clergymen dancing in the pine-grove at once.

One of the features of our holiday doings was the procession which spontaneously came into order, after dinner, when there was anything to the fore in the pine-woods. Then a parade took place like unto the wedding march of the villagers in an old fas.h.i.+oned opera. There was always some display of decoration on such occasions, usually floral, the girls, wearing garlands and wreaths or sprays of vine and chaplets of leaves. Headed, perhaps by the boys with fife and drum, or by the members of the cast if a play was to be given, the whole community, young men and maidens, old men and children, went singing from one end of the place to the other, that is from the Hive near the entrance to the Amphitheater near the far side of the grove.

When a high festival was to be celebrated, the procession took on the picturesque dignity of a pageant. A real pageant we dearly loved, but the show was too expensive to be offered more than once or twice annually. We had to hire musicians as our own were too busy to serve.

Then the costumes and banners and hangings took a good bit of money, though artistic ingenuity helped out amazingly. Where all the magnificence came from was a mystery, the splendors of purple and gold, of rich draperies, fine furbelows, s.h.i.+ning garments and glittering adornments being really splendid. Bonico and I, as Heralds, for example, once were superbly arrayed in white tabards emblazoned with red dragons and gold embroidery, cut from paper and pasted on white muslin. There was a deal of real, genuine, sumptuous finery brought out from family wardrobes for the pageant, but the hint as to the Heralds indicated how an effect could be produced at small cost.

[Ill.u.s.tration: THE PAGEANT.]

The finest pageant we ever had was arranged by the Festal Series, after the reorganization. It was historic in design, ill.u.s.trating the Elizabethan period in England. Dr. Ripley personated Shakespeare; Miss Ripley, Queen Elizabeth, in a tissue paper ruff, which I helped to make; Mr. Dana, Sir Walter Raleigh; Mary Bullard, the most beautiful of our young women, Mary Queen of Scots, and Charles Hosmer, Sir Philip Sidney.

The programme sent home to mother, at the time, gives a list of the characters represented but it need not be further quoted here.

The parade was formed on the Knoll and the line of march was up the road to Pilgrim Hall, over to the Cottage, around the Eyrie, and down the woodland way to the theater. The whole course was lined with spectators, coming from Boston and from all the neighboring towns. At the grove a series of historic tableaux presented the princ.i.p.al personages in significant pictures, and these were accompanied by Old English ballads and Shakespearian songs. The finale was a stately minuet, beautifully danced by four couples. They had been drilled for weeks by Miss Russell and as she was more than satisfied with the performance, it was, no doubt, nearly perfect. The audience seemed to be of that mind as they refused to disperse until the minuet had been repeated.

The following season we had a smaller pageant, the costumed personages being the characters in Shakespeare's comedy "A Midsummer Night's Dream." This was the most important play ever given in the grove, and as an out-door production, it antedated any similar performance in America.

I have seen "A Midsummer Night's Dream" given in the open several times since, but the magic of the first impression has never again been felt.

With all our love of recreation, there were no sedentary games in our repertoire. Cards were unknown. The General was said to like a quiet game of whist in his own room, but if he had a pack of cards, it was probably the only one on the Farm. There was no prejudice against cards or chess or any other game so far as I know, but no one cared for any form of amus.e.m.e.nt that separated two or four from all the others. I imagine that even courting, the divine solitude of two, must have been handicapped by this persistent penchant for all being together.

The spell that drew these sympathetic a.s.sociates like a magnet was in great part that charm of the general conversation, the memory of which still lingers wherever traditions of Brook Farm are cherished. The never failing succession of entertainments especially in summer were enjoyed to the full by the happy Farmers, but it was conversation, the mutual exchange of bright ideas that afforded their chiefest enjoyment. Not literature, not the drama, not the dance, but the fascination of human speech in its best employ attracted and held their enthralled attention.

It is impossible to report in writing even the heads of this discourse, pervading as it did the atmosphere of Brook Farm as currents of electricity pervade the air in breaths. In a college-student's ditty is a strain conveying some hint of such parley:

"We'll sing to-night with hearts as light And joys as gay and fleeting As the bubbles that swim on the beaker's brim And break on the lips at meeting."