He had, withal, a great fondness for mechanics, and one at least of his inventions, the "Pierpont or Doric Stove," was a bit of concrete philosophy,—a miniature temple glowing with perpetual fire,—a cast-iron syllogism of itself, so classically just in its proportions, and so eminently characteristic, as to be a type of the author. He had been led through a long course of experiment in the structure of grates and stoves, and in the consumption of fuel, with the hope of superseding Saratoga, for himself at least, by making our terrible winters and our east winds a little more endurable. No man ever suffered more from what people sometimes call, without meaning to be naughty, damp cold weather.

In addition to the "Portrait," he had written a New-Year's Address or two, and a fine lyric, which was said or sung—I forget which—at the celebration of Napoleon's retreat from Moscow; so that after he went off to Baltimore, and the "Airs of Palestine" appeared in 1816, those who knew him best, instead of being astonished like the rest of the world, regarded it as nothing more than the fulfilment of a promise, and went about saying, or looking as if they wanted to say, "Didn't we tell you so?"

And yet, with the exception of two or three outbreaks and flashes, there was really nothing in his earlier manifestations to prefigure the "unrolling glory" of the "Airs," or to justify the extravagant expectations people had entertained from the first, if you would believe them.

Robert Treat Paine having disappeared from the stage, there was nobody left but Lucius Manlius Sargent and John Pierpont for celebrations and sudden emergencies. But Sargent never tried the heroic, and was generally satisfied with imitations of Walter Scott, and others, who were given to oddities and quaintness. For example, "I thought," says he, in the longest poem he ever wrote, which appeared in quarto,—

"I thought, than as a feather fair More light is filmy gossamer, So woman's heart is lighter far Than lightest breath of summer air, Which is so light it scarce can bear The filmiest thread of gossamer," etc., etc., etc.

While Mr. Pierpont flung himself abroad—like Handel, over the great organ-keys at Haarlem—as if he never knew before what legs and arms were good for, after the following fashion:—

"The misty hall of Odin With mirth and music swells, Rings with the harps and songs of bards, And echoes to their shells. "See how amid the cloud-wrapped ghosts Great Peter's awful form Seems to smile, As the while, Amid the howling storm, He hears his children shout, Hurrah! Amid the howling storm," etc., etc.

Few men ever elaborated as he did,—not even Rousseau, when he wrote over whole pages and chapters of his "Confessions," I forget how many times. Fine thoughts were never spontaneous with him, never unexpected, never unwaited for,—never, certainly till long after he had got his growth. In fact, some of the happiest passages we have seem to be engraved, letter by letter, instead of being written at once, or launched away into the stillness, like a red-hot thunderbolt. Well do I remember a little incident which occurred in Baltimore, soon after the failure of Pierpont and Lord—and Neal, when we were all dying of sheer inaction, and almost ready to hang ourselves—in a metaphorical sense—as the shortest way of scoring off with the world.

We were at breakfast,—it was rather late.

"Where on earth is your good husband?" said I to Mrs. Pierpont.

"In bed, making poetry," said she.

"Indeed!"

"Yes, flat on his back, with his eyes rolled up in his head."

Soon after, the gentleman himself appeared, looking somewhat the worse for the labor he had gone through with, and all the happier, that the throes were over, and the offspring ready for exhibition. "Here," said he, "tell me what you think of these two lines,"—handing me a paper on which was written, with the clearness and beauty of copperplate,

"Their reverend beards that sweep their bosoms wet With the chill dews of shady Olivet."

"Charming," said I. "And what then? What are you driving at?"

"Well, I was thinking of Olivet, and then I wanted a rhyme for Olivet; and rhymes are the rudders, you know, according to Hudibras; and then uprose the picture of the Apostles before me,—their reverend beards all dripping with the dews of night."

How little did he or I then foresee what soon followed,—soon, that is, in comparison with all he had ever done before! The "Airs of Palestine," like the night-blooming cereus,—the century-plant,—flowering at last, and all at once and most unexpectedly too, after generations have waited for it, as for the penumbra of something foretold, until both their patience and their faith have almost failed. But, from the very first, there were signs of growth not to be mistaken,—of inward growth, too,—and oftentimes an appearance of slowly gathered strength, as if it had been long husbanded, and for a great purpose. For example,—

"There the gaunt wolf sits on his rock and howls, And there, in painted pomp, the savage Indian prowls."

What a picture of brooding desolation! How concentrated and how unpretending, in its simplicity and strength!

And again, having had visions, and having begun to breathe a new atmosphere, with Sinai in view, he says,

"There blasts of unseen trumpets, long and loud, Swelled by the breath of whirlwinds, rent the cloud,"—

two of the grandest lines to be found anywhere, out of the Hebrew.

But grandeur and strength were never his characteristics; the natural tendency of the man was toward the harmonious, the loving, and the beautiful, as in the following lines from the title-page of his poem, "By J. Pierpont, Esquire":—

"I love to breathe where Gilead sheds her balm; I love to walk on Jordan's banks of palm; I love to wet my foot in Hermon's dews; I love the promptings of Isaiah's muse; In Carmel's paly grots I'll court repose, And deck my mossy couch with Sharon's deathless rose."

About this time it was, just before he went off to Baltimore, that we began to have occasional glimpses of that inward fire shut up in his bones, that subterranean sunshine, that golden ore, which, smelted as the constellations were, makes what men have agreed to call poetry,—which, after all, is but another name for inspiration; although the very first outbreak I remember happened at the celebration already referred to, where men saw

"The Desolator desolate, the Victor overthrown, The Arbiter of others' fate a suppliant for his own,"

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