By ANNA McCALEB

In the writings of Alice and Phoebe Cary are to be found many references which show how fondly they remembered the little brown house in which they were born. This house was on a farm in the Miami Valley in Ohio, eight miles north of Cincinnati. Alice was born April 26th, 1820, and Phoebe, September 24th, 1824, and there was one brother between them. Robert Gary, the father, was a kindly, gentle man, fond of reading, especially romances and poetry. The education for which he had so much longed he had been unable to obtain, and this made him quiet and diffident with strangers, although in his own family he was most loving and most companionable. Even the animals on the farm loved him, and the horses and cattle would follow him about watching for the kindly word and pat, or for the lump of salt or sugar which he was so certain to have for them. This Robert Cary was a descendant of Sir Robert Cary, a famous English knight of the time of Henry V, and Phoebe was always very proud of this ancestry of hers—so proud, in fact, that she had the Gary arms engraved on a seal ring.

It would seem that the enthusiastic admiration which the daughters all their life had for their mother was nothing beyond her deserts, for she seems to have been far from an ordinary woman. Despite the fact that she had nine children, and that she did the work for the entire family, she managed to keep up her interest in public affairs, and to read history, essays, biography and politics, as often as books on such subjects came to her hand.

In the little brown house with its overhanging cherry tree, which tapped the roof and scratched the attic window-panes, and with its sweetbrier under the window, the children lived a simple and happy life. Naturally in a family of this size they divided themselves into groups, and Alice and Phoebe, who in their later life were so inseparable, do not seem to have singled each other out as companions in their childhood. Alice's special comrade was her next older sister, Rhoda, Thom she persisted to her dying day in thinking of as the real genius of the family, while the constant playmate of the active Phoebe was her next younger brother. The children spent much time out-of- doors, gathering nuts and flowers in their season, and gaining that love of nature which stayed with them all their lives. As they grew older, they were sent to the district school, and were taught household tasks, Alice taking readily enough to housekeeping, while Phoebe became, even as a child, remarkably proficient with the needle.

The struggle to keep out of debt was a constant one with the Cary family, and Alice said long years afterward, "For the first fourteen years of my life it seemed as if there was actually nothing in existence but work." However, By 1832 family affairs had improved somewhat, and a new and larger house was built upon the farm. It seemed as if all the ill luck of the family dated from the building of the new house, in which they were never as happy as they had been in the little brown house.

When she was a woman, Alice told with perfect faith the "family ghost story," which concerned this new house. She said that just before the removal of the family to the new house, they were all driven to the shelter of the old house by a sudden and violent summer storm. As Alice herself stood at the window looking out, she exclaimed to her mother, "Why is Rhoda at the new house with baby Lucy, and why does she have the door open?"

They all looked, and all saw Rhoda standing in the doorway of the new house, with the baby in her arms.

"She was probably out with the child and took shelter in the nearest place when the storm came up," said the mother, and then she called loudly, "Rhoda!"

The figure in the doorway did not move, and in a few moments Rhoda came down from upstairs, where she had left little Lucy asleep, declaring that she had not been near the new house.

The family believed most sincerely that this was a warning of trouble to come, and certain it is that in 1833, within one month of each other, Rhoda and little Lucy died. Lucy had been Alice's special charge, as Rhoda had been her special companion, and the girl's heart was almost broken by this double loss. How deep and lasting her grief was may be seen from a remark that she made to one of her friends, speaking of Lucy's death.

"I was not fourteen when she died—I am almost fifty now. It may seem strange when I tell you that I do not believe that there has been an hour of any day since her death in which I have not thought of her and mourned for her."

In 1835 Mrs. Cary died, and two years later the father married again. The stepmother, a hard-headed, practical woman, could see nothing but laziness in the desire of Alice and Phoebe to read and write. During the day she insisted that they must keep busy about the house; in the evening she refused to allow them to burn candles, and thus the girls often worked with no light except what was afforded by a saucer of lard with a twist of rag stuck into it for a wick. For books they had but the Bible, a Hymn Book, a History of the Jews, Lewis and Clark's Travels, Pope's Essays, Charlotte Temple, a romance, and a mutilated novel, The Black Penitents. The last pages of this novel were missing, and Alice often declared that it was a lifelong regret to her that she never learned how the story "turned out."

With these meager helps and with no incentives to work except their own desires, Alice and Phoebe constantly wrote poems and stories. At the age of fourteen, Phoebe, without telling her father or even her sister, sent a poem to a Boston publisher. She heard nothing from it, but some time later came upon it, copied in a Cincinnati paper from the Boston journal. She laughed and cried in her excitement, but still she told no one.

About this time the father and stepmother removed to another house which had been built on the farm, and left the children in possession of the old one, so that their life was decidedly happier and their chances for work were multiplied.

Alice from this time on published numerous poems, chiefly in church papers, and her writings began to attract attention throughout the country. There was a freshness and charm about her little poems which won for them the favorable opinion of some of the best judges of poetry in the country. Of her "Pictures of Memory," Poe said that it was one of the most rhythmically perfect lyrics in the English language. Whittier wrote to the sisters, and Horace Greeley visited them in 1849, and thus slowly they gained the recognition and the encouragement which led them in 1850 to a rather daring step.

This was no less than a removal to New York. Alice went first, but she soon sent for Phoebe and their younger sister Elmina. In thus setting out for the great city and settling down to earn her living, Alice Cary was no doubt influenced by a rather painful circumstance which had taken place in her life. There had come to their neighborhood, some little time before, a man, her superior in age and education, who had recognized her unusual gifts and attractiveness, and had spent much time with her. She came to love him deeply and sincerely, and it would seem that he was but little less attracted by her. However, his family managed to persuade him that his best interests demanded that he should not marry this country-bred girl, and he returned to his home, leaving Alice to watch and hope for his coming. The gradual relinquishment of her dream and the final conviction that the sort of home life for which she felt herself most fitted was not after all to be hers, led Alice Cary to feel that she must take up some definite work to support herself and to help her sisters. She herself said later, in speaking about the removal to New York, "Ignorance stood me in the stead of courage and of books"—she knew so little about the great city to which she was going that she feared it little.

The sisters made up their minds from the first that they would have a home; they had a horror of the boarding-house atmosphere. Their first home was but two, or three rooms, high up in a big building in an unfashionable part of the town. Alice papered rooms, Phoebe painted doors and framed pictures; but the impress of their individuality was on the rooms, and every one who entered them felt their coziness and "hominess." Papers and magazines paid but little for contributions in those days, and it was only by living in the most economical and humble way that they managed to avoid their great horror—debt. But their life was by no means barren, for they became acquainted with many pleasant people, who were always glad and proud to be invited to the little tea parties in the three rooms under the roof.

The publication in 1852 of Alice's Clovernook Papers brought to her increasing recognition and new friends. These simple, original little sketches of rural scenery and rural life were just the things which Alice Cary knew best how to write, and they became very popular all over the country. Before 1856 the sisters had removed to the pretty house in Twentieth Street which was their home for the rest of their lives. Alice bought the house and the furnishings; indeed it was she who did most of the planning for the household, and who paid most of the bills. She worked early and late, driven always by the obligations to be met. A biographer says of her: "I have never known any other woman so systematically and persistently industrious as Alice Cary." Phoebe worked indeed, but spasmodically—she waited on her moods.

The home life of the sisters was most pleasant and simple. They had no "society manners;" the witty Phoebe was as willing to flash out her brightest puns for Alice's enjoyment as she was for a drawing-room full of appreciative listeners; while Alice's gentleness and sweetness were shown constantly to her sister and were not reserved for company only. Their great occasions were their Sunday evening receptions, and the people who gathered then under their roof were far from an ordinary company. Horace Greeley, Bayard Taylor, Richard and Elizabeth Stoddard, Justin McCarthy, Thomas Bailey Aldrich, Ole Bull, P. T. Barnum, Elizabeth Cady Stanton—these were but a part of the brilliant company which delighted to gather on Sunday evening and enjoy the sweetness and womanliness of Alice, and the wit of Phoebe.

Interrupted by the death of the beloved younger sister Elmina, this life in the Twentieth Street house went on for over twelve years, until in 1868 Alice Cary became a confirmed invalid. After she was confined to her room, however, she wanted life and brightness about her, and had the door of her room always left open, that she might hear the cheerful sounds of the household.

[Illustration: ALICE CARY 1820-1871]

During their life in New York, Phoebe had had numerous offers of marriage, but it had never cost her anything to say, "I don't want to marry anybody." Soon after the beginning of Alice's invalid days, however, Phoebe received an offer of marriage from a man whom she felt that she could love, and with whom she was sure she could be happy. She had always felt that in the home she was second to Alice, and she confessed once to a friend, "Sometimes I feel a yearning to have a life of my very own; my own house and work and friends; and to feel myself the center of all."

However, much as it cost her, she resolutely put away the thought of this possible happiness because she knew that her sister could not endure her absence in what were very clearly the last days of her life.

In February, 1870, Alice Cary died, and Phoebe from that time on seemed but half a person. To one of her friends she said pathetically: "For thirty years I have gone straight to her bedside as soon as I arose in the morning, and wherever she is, I am sure she wants me now." She tried to take up her work—indeed she felt that in her sister's absence she had double work to do; but it was of no use, and in a little more than a year after her sister's death she too died.

These two sisters, who were so constantly associated for so many years, differed very decidedly in many respects. Alice, the frailer in body, was much the stronger in will power; indeed her ability to force herself to begin and to stick to anything which she thought was to be done was the marvel of her friends. This intense energy often jarred on the more easy-going Phoebe, just as Phoebe's refusal to do literary work unless she were exactly in the right mood, often jarred upon Alice. However, the two sisters never showed their irritation; they were always sweet and gentle in their dealings with each other.

Naturally, Alice's superior energy resulted in an output of literary work which was much larger than Phoebe's. There was a difference, too, besides that of quantity in the work of the sisters. Alice possessed a more objective imagination, that is, she could, in the ballads which she was so fond of writing, place herself in the position of those whom she was describing, and make their feelings her own. Phoebe, on the other hand, in her serious poems held more closely to her own experiences. Both the sisters were very fond of children, though in a different way, Alice feeling for them a sort of mother-love, while Phoebe always felt toward them as though they were comrades. It is the genuine love for children which makes the children's stories and poems of Alice and Phoebe Cary live.

Shortly after Phoebe died one of her friends wrote, "The wittiest woman in America is dead;" and constantly on all sides was heard the saying, "O, if I had only taken down the many wonderfully bright things that I heard her say!" Her parodies have rarely been excelled, and some of her humorous poems are irresistibly funny. The best known perhaps of her parodies is the one on Longfellow's The Day Is Done, of which a stanza may be quoted here. For the original stanza which runs:

"I see the lights of the village
Gleam through the rain and the mist,
And a feeling of sadness comes o'er me,
That my soul cannot resist:
A feeling of sadness and longing,
That is not akin to pain,
And resembles sorrow only
As the mist resembles the rain,"

Phoebe Gary substituted the words:

"I see the lights of the baker
Gleam through the rain and the mist,
And a feeling of hunger comes o'er me,
That my soul cannot resist:
A feeling of sadness and longing
That is not like being sick
And resembles sorrow only,
As a brickbat resembles a brick."

However, more than for anything else, perhaps, Phoebe Cary will be remembered for her lyric, One Sweetly Solemn Thought. Not long before she died she heard a story of something which this little poem had accomplished, which made her very happy. A gentleman going to China was entrusted with a package for an American boy in China. Arriving at his destination, he failed to find the boy, but was told that he might discover him in a certain gambling house. As he sat and waited, he watched with disgust and loathing the dreadful scenes going on about him. At a table near him sat a young boy and a man of perhaps forty, drinking and playing cards; they were swearing horribly and using the vilest language.

At length, while the older man shuffled and dealt the cards, the boy leaned back in his chair and half unconsciously began to hum, finally singing under his breath Phoebe Cary's hymn, One Sweetly Solemn Thought.

"Where did you learn that hymn?" cried the older gambler abruptly.

"At Sunday School at home," replied the boy, surprised.

The older man threw the cards on the floor. "Come, Harry," he said, "let's get out of this place. I am ashamed that I ever brought you here, and I shall do my best to keep you from entering such a place again."

Together the two passed from the gambling house, and the man who watched them learned later that they were both true to their resolution to live a different life.