The Vaudois Teacher, and other poems Part 1 From Volume I of The Works of John Greenleaf Whittier — A Reader’s Guide

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Whittier, John Greenleaf, 1807-1892 Project Gutenberg 2005 Not confirmed
American poetry -- 19th century Readers of public-domain and historical texts
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Words 15,808
Reading time 69 min
Text sections 2

The catalog record for The Vaudois Teacher, and other poems Part 1 From Volume I of The Works of John Greenleaf Whittier — A Reader’s Guide provides practical reading context through 15,808 words, 1 hr 9 min estimated reading time, and 2 detected text sections.

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Whittier's narrative poems contrast Catholic and Protestant faiths, colonial violence, and spiritual waiting, with vivid imagery of siege, martyrdom, and sacred trees.
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Hath had its pure and perfect work on that high- born maiden's mind, And she hath turned from the pride of sin to the lowliness of truth, And given her human heart to God in its beautiful hour of youth

And she hath left the gray old halls, where an evil faith had power, The courtly knights of her father's train, and the maidens of her bower; And she hath gone to the Vaudois vales by lordly feet untrod, Where the poor and needy of earth are rich in the perfect love of God! 1830.

Mary G-----, aged eighteen, a "Sister of Charity," died in one of our Atlantic cities, during the prevalence of the Indian cholera, while in voluntary attendance upon the sick.

"BRING out your dead!" The midnight street Heard and gave back the hoarse, low call; Harsh fell the tread of hasty feet, Glanced through the dark the coarse white sheet, Her coffin and her pall. "What--only one!" the brutal hack-man said, As, with an oath, he spurned away the dead.

How sunk the inmost hearts of all, As rolled that dead-cart slowly by, With creaking wheel and harsh hoof-fall! The dying turned him to the wall, To hear it and to die! Onward it rolled; while oft its driver stayed, And hoarsely clamored, "Ho! bring out your dead."

It paused beside the burial-place; "Toss in your load!" and it was done. With quick hand and averted face, Hastily to the grave's embrace They cast them, one by one, Stranger and friend, the evil and the just, Together trodden in the churchyard dust.

And thou, young martyr! thou wast there; No white-robed sisters round thee trod, Nor holy hymn, nor funeral prayer Rose through the damp and noisome air, Giving thee to thy God; Nor flower, nor cross, nor hallowed taper gave Grace to the dead, and beauty to the grave!

Yet, gentle sufferer! there shall be, In every heart of kindly feeling, A rite as holy paid to thee As if beneath the convent-tree Thy sisterhood were kneeling, At vesper hours, like sorrowing angels, keeping Their tearful watch around thy place of sleeping.

For thou wast one in whom the light Of Heaven's own love was kindled well; Enduring with a martyr's might, Through weary day and wakeful night, Far more than words may tell Gentle, and meek, and lowly, and unknown, Thy mercies measured by thy God alone!

Where manly hearts were failing, where The throngful street grew foul with death, O high-souled martyr! thou wast there, Inhaling, from the loathsome air, Poison with every breath. Yet shrinking not from offices of dread For the wrung dying, and the unconscious dead.

And, where the sickly taper shed Its light through vapors, damp, confined, Hushed as a seraph's fell thy tread, A new Electra by the bed Of suffering human-kind! Pointing the spirit, in its dark dismay, To that pure hope which fadeth not away.

Innocent teacher of the high And holy mysteries of Heaven! How turned to thee each glazing eye, In mute and awful sympathy, As thy low prayers were given; And the o'er-hovering Spoiler wore, the while, An angel's features, a deliverer's smile!

A blessed task! and worthy one Who, turning from the world, as thou, Before life's pathway had begun To leave its spring-time flower and sun, Had sealed her early vow; Giving to God her beauty and her youth, Her pure affections and her guileless truth.

Earth may not claim thee. Nothing here Could be for thee a meet reward; Thine is a treasure far more dear Eye hath not seen it, nor the ear Of living mortal heard The joys prepared, the promised bliss above, The holy presence of Eternal Love!

Sleep on in peace. The earth has not A nobler name than thine shall be. The deeds by martial manhood wrought, The lofty energies of thought, The fire of poesy, These have but frail and fading honors; thine Shall Time unto Eternity consign.

Yea, and when thrones shall crumble down, And human pride and grandeur fall, The herald's line of long renown, The mitre and the kingly crown,-- Perishing glories all! The pure devotion of thy generous heart Shall live in Heaven, of which it was a part. 1833.

EXTRACT FROM "A NEW ENGLAND LEGEND." (Originally a part of the author's Moll Pitcher.)

John Greenleaf Whittier's The Vaudois Teacher, and other poems opens with a dramatic confrontation between a Jesuit missionary and a Huguenot lord, Charles of Estienne, in the aftermath of a castle siege. The Jesuit reports that Estienne's lady has died in captivity, prompting a vow of vengeance against the Catholic commander Pentagoet. Whittier uses stark contrasts—"Half in scorn, half in sorrow"—to frame religious conflict as personal tragedy. The poem The Cypress-Tree of Ceylon shifts to a meditative scene: Hindu ascetics sit motionless under a sacred tree, waiting for a leaf that restores youth. Whittier juxtaposes their patient vigil with the Christian's duty to wait for divine healing, asking "Shall we grow weary in our watch?" The collection thus moves between violent historical episodes and quiet spiritual allegory.

Siege and Vengeance in 'St. John'

The excerpt from St. John depicts a brutal conflict between Catholic and Protestant forces in colonial Acadia. Whittier's dialogue is charged with religious animus: the Jesuit calls the Pope's followers "the Woman of scarlet and sin," while Estienne vows to ally with Puritan Massachusetts against "what his Papists have done." The poem's action is compressed into a few stanzas—"Steel to steel, gun to gun, / One moment,—and then / Alone stood the victor"—yet the emotional weight falls on the lady's death. She is described holding her husband's pennon on a "shot-crumbled turret," her "dark tresses" swaying in cannon fire. Whittier ends the episode with a stark image: "a pale hand was beckoning / The Huguenot on; / And in blackness and ashes / Behind was St. John!" The landscape itself becomes a marker of loss.

Waiting Under the Cypress Tree

In The Cypress-Tree of Ceylon, Whittier describes Hindu ascetics who "sat in silent watchfulness" beneath a sacred tree, waiting for a leaf that restores youth. Their patience is absolute: they ignore "the song of Ceylon's birds," tropical storms, and the passing of battle flags. Whittier contrasts their "trustful patience" with Christian impatience: "Shall we grow weary in our watch, / And murmur at the long delay?" The poem's central metaphor—the tree whose "healing leaves of life are shed"—echoes Christian imagery of spiritual renewal, but the setting is explicitly non-Christian. Whittier does not dismiss the ascetics' faith; instead, he uses their devotion to challenge his readers. The final stanzas ask whether "the stir of outward things" distracts the Christian from waiting on God.

Recurring Patterns of Contrast

Across these excerpts, Whittier employs a consistent structural pattern: a dramatic confrontation or tableau followed by a moral or spiritual reflection. In St. John, the siege narrative gives way to the lady's death and Estienne's vow; in The Cypress-Tree, the description of the ascetics leads to a direct address to the reader. Whittier also uses paired opposites—Catholic vs. Protestant, action vs. waiting, physical violence vs. spiritual patience—to frame his themes. The language is often concrete: "shot-crumbled turret," "blackness and ashes," "tropic night-storm." Yet the poems also contain moments of lyrical stillness, as when "the loveliest of heavens / Hung tenderly o'er him" in St. John. This alternation between violence and calm gives the collection a distinctive rhythm.

Readers approaching this volume should note that Whittier's headnotes, mentioned in the publishers' advertisement, provide context for each poem's subject and occasion. The poems are arranged as "Narrative and Legendary," blending historical events with legendary motifs. Pay attention to how Whittier uses dialogue and direct address to shift between narrative and reflection. The collection rewards attention to its recurring symbols—fire, ash, trees, and waiting figures—which tie together disparate settings from colonial America to Ceylon.

When Whittier writes of waiting through long winters, I think of the patient, watchful cadence in some older verses, the kind that leave room for silence. There is a companionable quiet in Poems by Jean Ingelow, In Two Volumes, Volume I. — Inside the Classic that feels like finding a familiar footpath beside his sterner, stone-strewn one. It is a gentler place to rest after those sieges, a warm window against the snow.

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